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MARCH 2015—ISSUE 155 YOUR FREE GUIDE TO THE NYC SCENE NYCJAZZRECORD.COM

VIJAY IYER Women IN THE BREAK ’ Historys Month

Reviews

CARL JAMES ALPHONSE BETTY ALLEN FALZONE MOUZON CARTER Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The City Jazz Record 116 Pinehurst Avenue, Ste. J41 MARCH 2015—ISSUE 155 New York, NY 10033 New York@Night 4 Laurence Donohue-Greene: [email protected] Interview : by alex henderson Andrey Henkin: 6 [email protected] General Inquiries: Artist Feature : James Falzone 7 by clifford allen [email protected] Advertising: On The Cover : 8 by suzanne lorge [email protected] Editorial: [email protected] Encore : 10 by anders griffen Calendar: [email protected] Lest We Forget : 10 by donald elfman VOXNews: [email protected] Letters to the Editor: LAbel Spotlight : 11 by ken waxman [email protected] VOXNEWS 11 by katie bull US Subscription rates: 12 issues, $35 International Subscription rates: 12 issues, $45 For subscription assistance, send check, cash or money order to the address above In Memoriam 12 by andrey henkin or email [email protected] Festival Report Staff Writers 13 David R. Adler, Clifford Allen, Fred Bouchard, Stuart Broomer, CD Reviews 14 Katie Bull, Thomas Conrad, Ken Dryden, Donald Elfman, Brad Farberman, Sean Fitzell, Miscellany 41 Kurt Gottschalk, Tom Greenland, Alex Henderson, Marcia Hillman, Event Calendar Terrell Holmes, Iannapollo, 42 Suzanne Lorge, Marc Medwin, Robert Milburn, Russ Musto, 44 Sean J. O’Connell, Joel , John Sharpe, Elliott Simon, Andrew Vélez, Ken Waxman Jazz, more than any other genre, is a baton relay. Elder generations pass off the music to their heirs, who then themselves become veterans and the cycle repeats. Where some people see Contributing Writers tumultuous shifts, we see an unending font of vitality. Jazz is like a Thanksgiving turkey, Brad Cohan, Phil Freeman, Anders Griffen made more succulent by the application of new creative marinades. George Kanzler, Mark Keresman, Ken Micallef Pianist Vijay Iyer (On The Cover) has become one of the premier practitioners on his Contributing Photographers instrument; he continues a long tradition with his ECM trio debut and a concert at the Lena Adasheva, Néstor Ayala, Enid Farber, Metropolitan Museum of Art’s Temple of Dendur. Drummer Carl Allen (Interview) took Peter Gannushkin, Erika Kapin, lessons learned from folks like , and Jackie McLean and Robert I. Sutherland-Cohen handed them down as the longtime Artistic Director of Jazz Studies at The . This month he performs at with his band fêting his influences and . And clarinetist James Falzone (Artist Feature) continues the rich Chicago jazz tradition, bringing his new all-reed sextet to Roulette. And to celebrate Women’s History Month and their many contributions to the history of jazz, we have front-loaded our CD reviews with a gaggle of female-led and co-led (pg. 14-19). nycjazzrecord.com If you don’t learn from history, you are doomed to repeat it, which is not what jazz is about. On The Cover: Vijay Iyer (photo by Lena Adasheva) In Correction: In last month’s Encore, Linda Sharrock’s birthday is Apr. 3rd. In last month’s On This Day, Lorenzo Bandini’s fatal crash was in 1967.

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2 MARCH 2015 | THE JAZZ RECORD MARCH 20l5

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3/6, 3/7 & 3/8 M 3/2 THE CAPTAIN BLACK Tu EMMET COHEN QUARTET Tu 3/3 MIKE LEDONNE’S GROOVER QUARTET W CAMILLE THURMAN QUARTET Bruce Williams [sax] Eric Reed [p] W 3/4 JOANNA PASCALE QUARTET Th NICKEL & DIME OPS Buster Williams [b] Carl Allen [d] Th 3/5 CYNTHIA HOLIDAY F PATIENCE HIGGINS’ SUGAR HILL QUARTET Sa JOHNNY O’NEAL & FRIENDS 3/13, 3/14 & 3/15 Su WILLERM DELISFORT QUARTET “SPIRITMAN” CD RELEASE M 3/9 THE CAPTAIN BLACK BIG BAND Tu 3/10 MIKE LEDONNE’S GROOVER QUARTET STEVE TURRE QUINTET W 3/11 WALT WEISKOPF QUARTET Steve Turre [tb & shells] M JAM SESSION w/CAPTAIN BLACK BIG BAND Bruce Williams [sax] [p] Th 3/12 ALEXIS COLE Gerald Cannon [b] Willie Jones III [d] M 3/16 THE CAPTAIN BLACK BIG BAND SUNDAY JAZZ BRUNCH 3/20, 3/21 & 3/22 Tu 3/17 MIKE LEDONNE’S GROOVER QUARTET Su ANNETTE ST. JOHN & HER TRIO WARREN WOLF & WOLFPACK W 3/18 ALLYN JOHNSON QUARTET Warren Wolf [vibes] Alex Brown [p] Th 3/19 STEVEN KROON SEXTET Sets at 7, 9 & 10:30pm Vicente Archer [b] Pete Van Nostrand [d] M 3/23 THE CAPTAIN BLACK BIG BAND FRI & SAT ’ROUND MIDNIGHT SETS also at 11:45PM 3/27, 3/28 & 3/29 Tu 3/24 MIKE LEDONNE’S GROOVER QUARTET “THE ART OF ELVIN” W 3/25 REGGIE QUINERLY QUINTET MON at 7 & 9pm only CARL ALLEN’S TRIBUTE TO Th 3/26 SARON CRENSHAW MON Jam Session starts at 10:30pm ART BLAKEY & ELVIN JONES SUN Brunch sets at 11:30am, Keith Loftis [sax] Eric Reed [p] M 3/30 THE CAPTAIN BLACK BIG BAND 1:00pm & 2:30pm Yasushi Nakamura [b] Carl Allen [d] Tu 3/31 MIKE LEDONNE’S GROOVER QUARTET NEW YORK @ NIGHT

Jazz at kicked off its celebration of Lady In a flip of the usual jazz script, a single token male Day’s centennial (Feb. 7th) with a children’s concert in (Dave Trigg subbing on lead trumpet) was surrounded the Rose Theater under the banner “Who Is Billie by an all-female big band when the DIVA Jazz Holiday?” Holiday is a tough sell as a role model but Orchestra warmed up Iridium’s second-set crowd on pianist and bandleader Aaron Diehl did his best in Valentine’s Day (Feb. 14th). After romping through emceeing the matinee, talking about staying true to three numbers, which included bassist Noriko Ueda’s oneself with only a passing mention of staying away fine of Stanley Kay-’ from drugs. (Staying out of abusive relationships was a “Nothin’”, drummer/bandleader Sherrie Maricle lesson left for another time.) The music fared better, called out vocalist (known as “Deedles” with Diehl’s septet remaining faithful to the music to fans), who immediately set a new tone when she sat without playing retro dress-up. In the challenging part down at the piano wearing a sparkly red jacket with of singer and frontwoman was Charenee Wade, looking matching cat-eye sunglasses, launched the band into “I elegant in a black-and-white print dress, who charmed Just Found Out About Love” and threw them a few in the title role even if she couldn’t resist stretching rhythmic curveballs with her loose, playful phrasing. beyond Holiday’s limited range now and again. They Moving to a tall stool for the remainder of the evening, ran through seven songs (nicely including the less often Schuur primed the crowd with naughty double heard “He Ain’t Got Rhythm” and “Laughing at Life” entendres and dazzling displays of her vocal dexterity. as well as a captivating “Strange Fruit”) but between Her set included the standards “Easy To Love”, “We’ll pieces Diehl was given to a fair bit of hyperbole. Calling Be Together Again”, “Love for Sale” and “‘Deed I Do”; her “one of the greatest musicians in the history of R&B-inflected “Caught a Touch of Your Love” and music” might be challenged in some quadrants. “Louisiana Sunday Afternoon”; ending with a fast Saxophonist Dan Block’s /Lester mambo version of “Besame Mucho”. In the course of Young comparison worked better, discussing the her performance, Schuur toggled between two very evolution of the music without worrying about the different vocal sounds: a soulful, belting chest voice winner’s circle. Holiday is certainly deserving of praise, and high, piercing head voice. Her shifts in register of course, and there’ll be much more of it in the months could be abrupt, with some intonation problems in the to come. Let’s only hope that in two years’ time, the middle range, but when she was on there was no equally great (and decidedly less tragic) question of her mastery and authority. sees equally royal treatment. —Kurt Gottschalk —Tom Greenland a r b e 2 0 1 5 © E n i d F © E r i k a K p n Aaron Diehl & Charenee Wade @ Rose Theater Diane Schuur @ Iridium

Close to two dozen effects pedals populated The While emceeing the second concert (Feb. 8th) of the Stone’s floor with a table of paints and brushes, sponges fifth annual Alternative Guitar Summit, founder/ and feathers between them when guitarists Henry guitarist noted that many of the event’s Kaiser and Ava Mendoza met for an improvised artists fall “between the cracks”, an apt image for the session with visual artist Brandy Gale (Feb. 6th). The microtonal, between-the-frets explorations to follow set went beyond the usual “live painting” concert that night at Rockwood Music Hall. First on the docket, experience as the Canadian painter is a synaesthete; she acoustic guitarist Gyan Riley, backed by percussionist experiences a blurring of the senses—a sound might David Cossin, played a set of modal pieces combining trigger a visual perception or a taste might seem to classical, flamenco and jazz fingerpicking techniques. have a particular shape, for example. From the outset On originals like “Eyes of Orion” and “Sombra”, Ryan the two guitarists were moving quickly and thinking showed impeccable dynamic control and on “Dance of carefully, both playing single-note runs, unconcerned 29” revealed a flair for richly voiced chords. Next, with intersection, before descending into a shared South Indian guitarist Prasanna used the traditional sludge. Gale, meanwhile, applied florescent colors to Carnatic (classical music) form of ragam-talam-pallavi black paper and white canvases with a childlike sense to perform three kritis (devotional songs) by Tyagaraja, of discovery, walking circles around her easel, brush all in adi (eight-beat meter), the first a solo, the next held prone, using feathers and sponges and eventually two duets with his 12 -year-old student Shiam Kannan. her fingers, painting flowers and mountain scenes and Following an amazing swara (improvisation) on the then caressing them into more abstract imagery. She third tune, he closed with a solo rendition of his folksy gave occasional written prompts such as “Kittens” or “Bowling for Peace”. Last but not least was Dave “Iceberg”, the latter, no doubt, more familiar subject Fiuczynski’s Planet Microjam trio, with vocal matter for Kaiser, who spent six months in Antarctica percussionist Adam Matta and Turkish keyboardist on a National Science Foundation grant. Perhaps these Utar Artun. Wielding a double-necked guitar (the top particular improvisers were better prepared to imagine one fretless), “Fuze” led the group through four a town made of ice then a sonic kitten realization (or originals that shifted mercurially between sections, perhaps this reviewer was just better prepared to hear combining heavy dance beats with Middle Eastern it) but in any event, it was during that satisfyingly melodic inflections. A guitarists’ guitarist, he never let blocky and brittle section that the inner workings of the his formidable chops outshine his soulful delivery. trio became enjoyably discernible. (KG) (TG)

4 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD Eight years (minus two days) since their first and only Family, friends and fellow artists gathered at Saint New York City appearance, Nordic group Atomic Peter’s Church (Feb. 9th) to pay tribute to the late arrived for a followup at ShapeShifter Lab (Feb. 3rd), Lawrence “Butch” Morris on the eve of what would WHAT’S NEWS albeit in a different format, both intentional and as have been the celebrated innovator’s 68th birthday. victim to the vagaries of international travel. The Billed as The Long Goodbye, the program assembled a The winners of the 2015 Grammy Awards have been quintet, with new drummer Hans Hulbækmo taking diverse cast of musicians, many of whom had studied announced. Best Traditional Pop Vocal : Tony over for Paal Nilssen-Love, was temporarily a quartet, under and performed with the cornet player/ Bennett & Lady Gaga—Cheek To Cheek (Streamline/ pianist Håvard Wiik sorting out visa issues in order to conductor, whose image was projected over the Columbia/RPM/Interscope); Best Improvised Jazz Solo: join the rest of the U.S. tour. The result was a church’s altar throughout the evening in a poignant —“Fingerprints” from Trilogy (Concord); Best freebopping group quite different than the current slide show. The music began with an improvised duet Jazz Vocal Album: —Beautiful Life work of bassist Ingebrigt Håker Flaten, saxophonist/ by trumpeter Stephanie Richards and guitarist Brandon (Concord); Best Jazz Instrumental Album: Chick Corea Trio—Trilogy (Concord); Best Large Jazz Ensemble clarinetist Fredrik Ljungkvist and trumpeter Magnus Ross, which started with the former blowing low Album: Gordon Goodwin’s Big Phat Band—Life In The Broo. The analog that kept coming to this reviewer’s moaning sounds into pedaled open piano strings as Bubble (Telarc); Best Latin Jazz Album: Arturo O’Farrill & mind was the mighty Bill Barron-Ted Curson Quartet the latter coaxed ambient high-pitched tones from his The Afro Latin Jazz Orchestra—The Offense Of The of the mid ‘60s. The pluckiness of the melodies was guitar, before engaging each other in a disjointed Drum (Motéma); Best Arrangement, Instrumental and more apparent without the knottiness of Wiik behind dialogue that ended with Ross strumming the melody Vocals: Billy Childs—“New York Tendaberry” from Map To them and Hulbækmo is a very straightforward to one of Morris’ best known pieces, the idyllic The Treasure: Reimagining Laura Nyro (Masterworks); drummer. If Flaten’s muscularity was still present, it “Nowhere Ever After”. The same heavenly melodic Best Album Notes: Ashley Kahn for — was in service of a much more rhythmic function (a line, this time emanating from a miniature mechanical Offering: Live At Temple University (Resonance/Impulse). marked departure from his improvised bass duet at music box long ago crafted for Morris in Europe, For more information, visit grammy.com. JACK from January). What marked them as a modern opened the set by the Nublu Orchestra, a 15-piece group was the way they handled structure: there were ensemble comprised of brass, reeds, electric bass and The Robert D. Bielecki Foundation is honoring the AACM heads and solos but often hanging together loosely, guitars, dual drums and percussion. Conducted by New York Chapter, led by AACM founder Muhal Richard even within relatively compact renditions (eight to ten Morris compatriot Kenny Wollesen, the band engaged Abrams, with a $25,000 matching grant for their 50th minutes). During the frontline solos of the last piece, a in a kaleidoscopic collective improvisation running the Anniversary Fall 2015 Celebration, to be used to help fast-walking fanfare, another comparison presented gamut from supple harmonics to grating dissonances underwrite a series of concerts in New York City as well as itself: and in Art Blakey’s in dynamic interplay. The night ended with Graham strengthen the organization’s infrastructure and outreach. late ‘50s Jazz Messengers. I guess that’s why the band Haynes playing electronically altered solo cornet. Donations to meet the match can be made at is called Atomic, not Nuclear. —Andrey Henkin —Russ Musto aacm-newyork.com. For more information, visit RDBF.org. Saxophonist Charles Lloyd has signed to , for whom he last recorded in 1983, ending a relationship with ECM Records that began in 1989 and yielded 15 acclaimed releases. Lloyd’s new album will come out in April, a week before he receives his NEA Jazz Master award, and will be celebrated at the Metropolitan Museum of Art’s Temple of Dendur. For

O W N M U S I C . E T more information, visit bluenote.com.

The estate of has lost a court battle over unpaid royalties. The New York State Court of Appeals ruled in favor of EMI, who argued that the extra commissions taken by subsidiaries not in existence at the time of the original 1961 contract are legal and binding. In other legal news, actress Samantha Cesena, who was engaged to saxophonist Stan Getz at the time of his 1991 death, has filed a suit to have the administrator of a R . I S u t h e r l a n d - C o / j z x p s i g P e t r G a n u s h k i / D O W N T trust Getz made in her name removed and information Fredrik Ljungkvist @ ShapeShifter Lab @ Saint Peter’s about his management of said trust revealed. Cesena claims not to have received payments from the trust since It is said that being a bassist means never being out of Despite having earned a degree from the July 2013. work. Over the past two decades, John Hébert has School of Music a decade ago, Oakland-born trumpeter matched quantity with quality, voluminousness with had never played in his alma Cadence Magazine has made the contents of their new variety, alongside such disparate players as Andrew mater’s uptown neighborhood until his Harlem Stage issues available for free at cadencejazzworld.com. Hill, , and Benoît Delbecq, to Gatehouse debut (Feb. 5th). Performing a free ’s music has reached the masses via a name only pianists. In recent years, he has taken turns “neighborhood concert” in conjunction with Carnegie sampling of his “The Opening” (taken from the 1971 at leading or co-leading groups, all very different from Hall at the magnificently converted 19th century Vanguard live disc At The Village Gate) by the British each other. But none were as intriguing on paper for its edifice, the winner of the 2007 indie rock band Cornershop’s “Candyman” and featured seeming incongruities as his Bridge and Tunnel with International Jazz Competition led his quintet of in a Miller Lite TV spot. guitarist Peter Bernstein, saxophonist Dayna Stephens guitarist Charles Altura, pianist Sam Harris, bassist and drummer Eric McPherson, which played Cornelia Harish Raghavan and drummer Justin Brown through The Institute of Jazz Studies (IJS) at Rutgers Street Café (Feb. 7th). Hébert and McPherson are a a program that highlighted his prowess as an University—Newark has an opening for its Executive known quantity, as Hill’s last rhythm section innovative stretching the boundaries of Director. For more information and to apply, visit and in numerous situations since, while Bernstein and contemporary jazz. The opening “Roll Call For Those higheredjobs.com/details.cfm?JobCode=176013952. Stephens are two of their respective generations’ stars. Absent”, a memorial to black men who died in recent But how would the foursome acquit themselves as, shootings, began with Akinmusire repeatedly intoning Blue Note Records has announced its first-ever jazz well, a foursome? Hébert provided an eclectic setlist— the name Trayvon Martin (who would have turned 20 cruise, in partnership with Cunard Line. The inaugural three originals to go along with H. Eugene Gifford’s that day) as Brown played a funereal drum roll. The voyage will take place in the Queen Mary 2 in late October “Smoke Rings”, ’s “Fire Waltz” and music’s temperament moved from dark moodiness to and feature performances by Blue Note Records’ 75th “Cheer Up, Charlie” from 1971’s Willy Wonka and the bright ethereal atmospherics, with the trumpeter’s Anniversary All Star Band Our Point of View and Q&A Chocolate Factory—and self-deprecating stage banter. tone initially recalling the boppish sound of Miles sessions with label president Don Was. For more McPherson was understated throughout and Bernstein Davis and , then taking on the slurred information, visit cunard.com. demonstrated a particularly -ian pliability note character reminiscent of Don Cherry and Lester between melodic focus and open exploration. Stephens, Bowie. Surprise guest, vocalist Becca Stevens, who Somethin’ Jazz Club has changed ownership. After a youngest of the group and a contrast to Hébert’s usual Akinmusire unabashedly praised as his “favorite truncated March schedule, bassist Richard Bona will take over the space. partners like Michaël Attias, was solid, if composer”, joined the group for her “Our Basement” unremarkable, in his contributions. It’s nice to hear and pianist Gerald Clayton added his voice to Submit news to [email protected] Bernstein stretch out and Hébert play in a more proceedings, sitting in for the closing “Confessions To ‘traditional’ group so maybe a trio is in order? (AH) My Unborn Daughter”. (RM)

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 5 INTERVIEW

things with it. And that’s kind of how Rodney and I were approaching those songs.

TNYCJR: You and Rodney performed The Temptations’ hit “Get Ready” in a Coltrane-ish way. CARL CA: Rodney and I were just expressing what we felt. TNYCJR: You and Rodney also performed “With You a l e n I’m Born Again,” the 1979 hit by Billy Preston and Syreeta Wright. That song could have easily lent itself to a smooth jazz version, but you played it as a serious o f c a r l straightahead jazz ballad. t e s y ALLEN (CONTINUED ON PAGE 50) o c u r

p h o t by alex henderson When Carl Allen, now 53, first emerged in the ‘80s, the more respected. Younger musicians are more likely to term “Young Lion” was often used in connection with the look to older musicians for guidance. New York City-based drummer and Milwaukee native. Allen was part of the wave of young acoustic jazz improvisers CA: It goes back to the musicians supporting one and his hard-swinging yet nuanced playing was mindful of another. The music business is a tough business. But Art Blakey, Elvin Jones, , Philly Joe Jones and I’ve never felt that I had it rough and so you should other drummers who had come out of the ‘50s. Along the also have it rough. I never had that mindset. If I can way, Allen has built a long résumé working as a sideman for nurture or do something to help younger musicians, I jazz heavyweights like alto saxophonist Jackie McLean, want to do that. trumpeter Freddie Hubbard, flugelhornist and tenor saxophonist George Coleman. His own catalogue has TNYCJR: Although you are associated with ranged from two albums for (1993’s The straightahead jazz, you have included R&B and rock Pursuer and 1994’s Testimonial) to dates co-led with songs in your repertoire. The albums you recorded bassist for Mack Avenue in the late ‘00s with Rodney Whitaker for Mack Avenue included The (Get Ready and Work to Do). 2014 found Allen forming Isley Brothers’ “Work to Do”, ’ “Eleanor his group The Art of Elvin, which has been paying homage Rigby” and Marvin Gaye’s “Inner City ”. to the legacies of Blakey and Jones. CA: Rodney and I go back 30 years, or close to it—we The New York City Jazz Record: 30 years have passed played together with [trumpeter] since you played on Freddie Hubbard and Woody and [saxophonist] . Sometimes I think Shaw’s Double Take for Blue Note Records. In what musicians are too concerned about what other ways have you evolved as a drummer since the ‘80s? musicians are going to think about their albums. But I think that as you mature, you become a little bit more Carl Allen: I hope there’s been an evolution. I like to secure. You become more honest. In other words, when think that as I’ve grown and matured, so has my music. Rodney and I did those songs by Marvin Gaye and The I think I’ve become a better listener. I think that one of Beatles and , we weren’t really the things that comes with maturing is the ability to concerned with what the jazz police were going to say. listen more and speak less. When you’re younger and And you know that there are jazz police out there you hear stuff, you feel like you have to let people (laughs). But Rodney and I both grew up in the church. know that you hear it. But when you mature, you don’t We both grew up hearing R&B/soul and, truth be told, always have to do that. When you hear something, you a lot of our peers did as well. There was a time when can acknowledge it in a non-verbal way. Another way I musicians wanted the jazz police to think they were think I’ve grown is in how I orchestrate. I think I’ve playing all the time, but the reality is gotten a little better with that over the years. that it was not the case. We were also listening to R&B/ soul. TNYCJR: Talk about The Art of Elvin. TNYCJR: Bird didn’t listen to jazz exclusively. He was CA: The concept behind The Art of Elvin is to use the known for being a country music fan and enjoyed band as a platform to nurture young talent and, also, to Hank Williams, Sr. remember Elvin Jones and Art Blakey. The idea is to play music associated with Elvin and the Jazz CA: That’s part of the evolution of the music. Many of Messengers as well as playing original material. the tunes that we now know as standards in jazz— “Someday My Prince Will Come”, “On Green Dolphin TNYCJR: Finding and nurturing young talent is Street”—were pop tunes of their day, whether they certainly appropriate for a band focused on Jones and came from Broadway or films. At this point in my life, Blakey since they were both great at exposing young, I’m not really concerned with what the jazz police are promising musicians. going to say. I’m just trying to be honest and express myself. CA: Absolutely. Both of them were very committed to nurturing young talent and trying to help them fulfill TNYCJR: For so long, a lot of great R&B and rock songs their visions. I’m 53 now and after playing on didn’t receive enough attention in improvised music. 200-something records—and after all the people that They were ignored by many or played as note-for-note I’ve played with—I think I also have to do that. It covers by smooth jazz musicians, but there weren’t doesn’t mean that I’m the only guy to do it; certainly, enough examples of or Marvin Gaye there are a lot of other guys who should also be doing songs being used for serious . it. But that’s part of the evolution. That’s part of one’s growth and development. CA: I agree with that. One thing I learned playing with Jackie McLean, and also with George Coleman, is that TNYCJR: One thing that separates jazz is that age is if you have a great melody, you can do a lot of different

6 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD ARTIST FEATURE

For more information, visit allosmusica.org. Falzone’s Renga Ensemble is at Roulette Mar. 4th. See Calendar.

Recommended Listening: • James Falzone/Allos Musica—The Sign and The Thing Signified (Allos Documents, 2005) • Jorrit Dijkstra’s The Flatlands Ensemble— JAMES Maatjes (Clean Feed, 2008) O W N M U S I C . E T • —Cicada Music (Delmark, 2008/2011) • VOX ARCANA—Aerial Age (Allos Documents, 2010) • KLANG— Lines… Chicago Spaces (Allos Documents, 2012) • James Falzone’s Renga Ensemble—The Room Is FALZONE (Allos Documents, 2013)

P e t r G a n u s h k i / D O W N T by clifford allen Chicago-based clarinetist James Falzone, a stalwart Ensemble (full disclosure: this writer penned the liners figure on the Windy City’s improvisation scene for the for their forthcoming disc The Room Is) and blurs open better part of 15 years, would be intriguing enough on music and composition by focusing on individual the basis of his varied output—he currently leads three players’ personalities and their interactions within and different units in addition to a host of sideman and without a set of structures. “Timbre is important but so solo appearances—but being an improvising composer is bringing together very individual voices and creating requires only a fraction of the responsibility to which music that alternately celebrates and frustrates that Falzone has committed himself. Born in Chicago (Sep. individuality. I made a list of players who had a deep 1st, 1971), he has been on the faculty of Columbia connection to the clarinet and who had singular voices College for seven years, teaching jazz history, liberal as improvisers. Most of them had never worked arts courses, theory, composition and clarinet. As he together before [a few had never even met] and we had put it in a recent email exchange, “At this point in my a beautiful week in Chicago rehearsing, performing life I see a synthesis of the many activities I’m involved and recording.” KLANG, a quartet with Adasiewicz, in. Teaching and artistry intermingle in instructive and Roebke and Daisy, falls somewhere in between the surprising ways. Teaching jazz history to a room full of axes of taut composition, gently-swinging rigor and college students, many of whom have very little freedom espoused by Perry Robinson, JSnycjr0315 2/11/15 3:35 PM Page 1 interaction with or knowledge of the music, reminds and Teddy Charles. A New York performance in late me how deep and vast the subject truly is. We’re doing 2012 with Bishop’s trombone in for Adasiewicz’ some things traditionally—going through texts and vibraphone carried a different weight and, while touching upon the important epochs and people in the utterly contemporary in its approach, leaned in the music—but also overturning some tables by bringing direction of early ‘60s Loft jazz. in many guests.” In addition to formal college The change that an individual voice brings to a coursework, Falzone also teaches improvisation and work and an experience is no accident—“My pieces are “Best Jazz Venue of the Year” NYC JAZZ RECORD#“Best Jazz Club” NY MAGAZINE+CITYSEARCH THE SUN MAR 1 composition privately and in master class settings. not finished until I bring them before my ensembles BIG BAND From a philosophical perspective, Falzone and always the ensemble members are people I have a SOUND OFRUFUS REID TUE MAR 3 approaches teaching as a “way of knowing. To serious connection with,” Falzone says. “To put this a DUCHESS paraphrase Saint Augustine, it is the teacher. Studying bit more metaphorically, when I compose for Renga, at AMY CERVINI - HILARY GARDNER - MELISSA STYLIANOU - JEFF LEDERER music involves much more than I can say, but the basis the top of the page I don’t write ‘Baritone Saxophone’, MICHAEL CABE - JESSE LEWIS - PAUL SIKIVIE - MATT WILSON is the self. I do think of this as serious business. My I write ‘’. It makes all the difference.” WED-SUN MAR 4-8 study of music, from my first trials and errors as a Furthermore, for Falzone “improvisation is at the QUARTET SPECIAL GUESTSCHORO AVENTUROSO [FRI & SAT ONLY] 10-year-old with a clarinet in my hands to advanced center of who I am and I think of it as a compositional JASON LINDNER - JOSEPH MARTIN - DANIEL FREEDMAN - academic study, has formed my understanding of the tool, a way of organizing material. Even when I’m TUE-WED MAR 10-11 ENSEMBLE world and my place in it.” Falzone began with lessons making fully composed music I use improvisation as a & VENEZUELA EDMAR CASTANEDA - JOHN ELLIS - ELENA PINDERHUGHES from Chicago reedplayer Rich Corpolongo (who means to generate my ideas. It’s the way I work and ROBERTO KOCH - - LUISITO QUINTERO - LEONARDO GRANADOS recorded the Sonic Blast LP with fellow reedplayer Joe the way that, circling back to Saint Augustine, I know. THU-SUN MAR 12-15 BUSTER WILLIAMS Daley in 1983) and at the New England Conservatory My favorite way of working is when the composed and TRIO under pianist Ran Blake, but his education in the field the improvised coalesce and the line between the two TUE-WED MAR 17-18 has been collaborative—indeed much more than becomes permeable. Part of the reason this is so ORACLE ‘Continuing Ed’. These cohorts have included important to me is that I think of improvisation as JOHN ELLIS - MIKE MORENO - TAYLOR EIGSTI - JOE SANDERS drummers Tim Daisy and Tim Mulvenna, vibraphonist existential—it mirrors life. We exist in simultaneous THU-SUN MAR 19-22H7:30PM & 10PM ONLY Jason Adasiewicz, trombonist Jeb Bishop, bassist Jason dialogue with the known (the composed) and the & DAVE Roebke, oud player Ronnie Malley and accordion unknown (the improvised) and I’m interested in music DOUGLAS QUINTET player Jeremiah McLane. But Falzone didn’t just jump that reflects a sense of this mystery.” - LINDA OH - CHES SMITH TUE MAR 24 into the deep end—“When I moved back to my While experiencing what isn’t knowable PLAYS hometown after several years in , I spent a fair beforehand is necessary for creation, Falzone moves BIRD CALLS ADAM O’FARRILL - DAVID VIRELLES - FRANÇOIS MOUTIN - JORDAN PERLSON amount of time just listening and trying to understand ahead with necessary conviction. In addition to being WED MAR 25 WITHRAVI the sonic landscape of the community, figuring out an educator, instrumentalist and composer, he runs the GLENN ZALESKI TRIO COLTRANE who I shared some language with. I have Allos Documents label, curating between-the-lines - CRAIG WEINRIB releases of his music and those whose work reflects THU-SUN MAR 26-29 always tried to keep a few different projects going at HARLEM KINGSTON once, representing different sides of my interests, to similar values. “Growing up, my parents always had MONTY ALEXANDER EXPRESS open up a sort of dialogue with myself.” their own businesses and an entrepreneurial spirit has ANDY BASSFORD - HASSAN JJ SHAKUR - JOSHUA THOMAS - KARL WRIGHT - BERNARD WOLFE TUE MAR 31 It may not be surprising that Falzone’s musical been with me since before I understood what that E.J. STRICKLAND QUINTET landscape is equally self-directed and curious; while meant. When I began to think about how I wanted to JALEEL SHAW - MARCUS STRICKLAND - LUIS PERDOMO - LINDA OH improvisation may be paramount in how he engages articulate my career, or, perhaps said more accurately, HHHMINGUS MONDAYSHMINGUS MONDAYSHHH with the world, his work also includes Arabic, French the way I improvised within a developing situation, it MON MAR 2, 9, 23 & 30 MON MAR 16 and Jewish traditional music as well as contemporary was clear my parents’ D.I.Y. mentality was fully intact.” MINGUS ORCHESTRA JAZZ FOR KIDS WITH THE YOUTH ORCHESTRA EVERY SUNDAY AT 2PM - DIRECTED BY DAVID O’ROURKE chamber music and jazz. His latest group is an all-reed Nobody is going to experience things for you, but sextet of Ken Vandermark, , Jason Stein, Falzone’s work and life are fine models for a few ways and Keefe Jackson called Renga of doing things ethically and creatively. v

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 7 ON THE COVER © B a r t B a b i n s k / E C M R e c o r d vijay iyer IN THE BREAK by suzanne lorge

Pianist Vijay Iyer has not followed the usual path to beyond my immediate capability, whether in a as an example of how this social process works to a acclaim in the jazz world. He received little formal rhythmic framework or dealing with—setting up— creative end. On Break Stuff, Iyer’s third album for training in piano and is a largely self-taught composer. situations that I would have to respond to that would ECM and first with the trio for that label, the easy While studying the sciences at Yale and University of be unfamiliar. My technique developed in response to understanding and trust between the players are -Berkeley in the ‘90s, he was playing in jazz the demand of the music.” apparent. In their performances, the players respond clubs and touring Europe as a sideman. Even as he was However Iyer arrived at his expertise, at day’s end to each other organically, moving through the shifting garnering academic credentials in math and physics, it’s hard to argue with the results. Iyer has about 20 moods and colors without any hint of who is leading he was starting to write his own jazz compositions. recordings as a bandleader to his credit and earned a or following. “It’s unforced,” is the way Iyer describes “None of that was normal,” he admitted with a laugh Grammy nomination for his trio release Historicity the performances on the album, which the trio has in a recent phone interview. Not normal, perhaps, but (ACT Music, 2009). He received a MacArthur been “developing incrementally” for many years. “The not confused or aimless, either. Iyer’s approach to fellowship grant in 2013 and a tenured professorship at important thing to me about this trio is that there’s not art—open, experiential and interactive—suggests a ’s Department of Music in 2014. In a lot of soloing—there’s a lot of collective development, shift in the way that we can understand music in the last three months , he premiered a solo work a lot of grooving, texture and thinking about sound general and jazz in particular. For jazz musicians, Iyer for piano and performed with a chamber orchestra in and dynamics.” In short, both the process and the might argue, this type of understanding is nothing the final concert of BAM’s New Wave Festival; message of the album speak to “the stuff that kinda new. Jazz has always been about responding to what is completed a week-long residency at The Stone, each grows when you don’t expect it to,” Iyer says. He goes happening in real time, interacting outside of one’s set with a different configuration of musicians; and on to say that the title of the album is often normal environment and collaborating with others. released Break Stuff (ECM), with his working trio of misunderstood; the title is not about breaking stuff— In reference to his unconventional career path to Stephan Crump (bass) and (drums). it’s about “the stuff that happens in the breaks.” jazz celebrity, Iyer points out that the jazz world has For some, it’s tempting to look at these sorts of To be sure, jazz is one of those things that happened always had its autodidacts, such as Duke Ellington. results and find fault. They really are not usual, of in the break. The “music that we call jazz…was born in “There are a lot of different approaches to the piano, to course, and it’s hard to imagine how one person can a crucible,” Iyer observes. “We keep…grasping at this all instruments,” he explains. “People cultivate their compose and perform equally well for the club, concert thing called jazz, as if it’s this unified thing. But if you own relationship to [an] instrument that is organic, the hall, studio and academy. Iyer’s response to such look at the last 100 years, it’s been nothing but constant result of inquiry and experimentation.” This view— skepticism is that the musical context does not change change. From to Charlie Parker in 15 that both the creation and perception of music emerge the musical content; he uses many of the same years? That’s a lot of change.” from an individual’s subjective experience in a specific ingredients across all of his work no matter what the In many ways, Iyer is on the vanguard of that body and culture—lies at the heart of Iyer’s work. context and, after all, he’s still the same person at the ongoing change today and he takes his role in that The foundation of Iyer’s musical training is piano. For instance, when he writes for various and change seriously. In the undergrad class that he teaches Western classical music; he began studying the violin sometimes-unconventional groupings of instruments, at Harvard, for example, Iyer forthrightly conveys the at age three and continued playing until he was 18. All Iyer says he’s not trying to be stylistically different. He principles that he espouses in all aspects of his work: the while he was dabbling in piano playing, but he is merely responding musically to a situation, partaking the value of listening to the world and responding in “didn’t view [it] as a purposeful thing until I was in in a musical collaboration that he was invited to join. real time; the need to expand one’s community; and high school,” he said. “I guess my relationship to the Because of his musical collaborations with jazz the unexpected joy that can happen when we piano was more like a rock musician, in the sense that musicians and his academic accomplishments in collaborate with others in a positive, sustainable it didn’t come from a lot of theoretical knowledge. physics, Iyer is in a unique position to initiate fashion. “Part of my work is to ask [the students], what That [knowledge] came a bit later.” discussions about the little-understood space where if you become an artist? What does that mean?” Iyer Iyer began to play with rock and jazz ensembles in the artistic world and the physical world intersect. In asks. “Particularly if you are invested in this thing high school, at which point he began “to consciously his PhD dissertation, Microstructures of Feel, called jazz. What is your relationship to that history listen to jazz and analyze it and find my relationship to Macrostructures of Sound: Embodied Cognition in West and that sense of community? Do you have a sense of it.” Increasingly he was drawn to the recordings of African and African-American Musics, Iyer discusses community, or are you in it for yourself?” players such as pianist and how the creation of music begins with the individual’s Iyer has answered these questions for himself and hornplayers , and John physical reaction to an environment. “There are some so seems ready to take on new questions. In music and Coltrane. But it was the music of pianist Thelonious basic things that bodies do that is the foundation of society, he says, “[there are] a lot of things we can build Monk that truly captivated Iyer. Monk’s music “was a what music is. Like breathing, walking, talking, that we don’t have a name for yet.” Until we do, real inspiration for me,” Iyer reports. “It was moving our fingers and dancing,” he says. Beyond perhaps “break stuff” will serve. v mysterious and it was subtle and powerful and raw this, he adds, “we have to understand how bodies are and full and empty and all these things I couldn’t heard, which is very culturally specific.” For Iyer, one’s For more information, visit vijay-iyer.com. Iyer’s trio is at really understand.” cultural reality begins with one’s physical reality. Metropolitan Museum of Art’s Temple of Dendur Mar. 7th. So inspired, Iyer began composing in college, Despite his intimate knowledge of the two See Calendar. trying to emulate the writing styles of the players he seemingly disparate worlds of art and science, Iyer is was listening to in the early ‘90s: saxophonists Donald somewhat reluctant to enter discussions about what he Recommended Listening: Harrison and and trumpeter Terence calls the “romantic marriage of science and art.” The • Vijay Iyer— Blanchard. “There were a lot of new ideas in the music reason for his reluctance, he says, is that he has seen (Asian Improv/Red Giant, 1996) at that time—about rhythm and form and pretty open first-hand what science cannot do. “Music and art are • Golden Quartet— tunes—tunes that had unnamable harmonies,” Iyer the most meaningful things that we as a species have Tabligh (Cuneiform, 2000) recalls. “Big things with a lot of power and clarity to ever done. Trying to explain things scientifically is • Fieldwork— (Pi, 2002) them.” kind of missing the point. [Music] is a social process • Vijay Iyer/Rudresh Mahanthappa— As part of his own inquiry and experimentation— that is about how we interact and build together and Raw Materials (Savoy Jazz, 2005) to cultivate his own relationship with the piano—Iyer how we make peace with each other.” • Vijay Iyer—Solo (ACT Music, 2010) says that he “would write in a way that would push Iyer can cite his experience with his trio of 12 years • Vijay Iyer—Break Stuff (ECM, 2014)

8 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD NEW RELEASES INCLUDE

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ANDREW HILL JACKIE MCLEAN ANTHONY WILLIAMS Black Fire Let Freedom Ring Spring

GRANT GREEN BOBBY MCFERRIN MILES DAVIS Street of Dreams Spontaneous Inventions Vol. 3

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previous release, Odyssey Of Iska, also with Mouzon. Tenacious kept a steady output through the ‘90s and After , Mouzon worked with Tyner into the 2000s. ALPHONSE MOUZON for two years, producing memorable performances and “What’s current,” Mouzon reports, “is my five albums like 1972’s Sahara and straightahead record, my allstar record, called Angel by anders griffen and 1973’s Enlightenment (all on Milestone). From 1972- Face, with Wallace Roney, , Christian 74 he also released three progressively impactful McBride, Ernie Watts, Bob Vincent, and Looking over the career of musician Alphonse Mouzon albums under his own name for Blue Note: The Essence the late, great . On a song called ‘Never a steady, inspired output is revealed. From his of Mystery, Funky Snakefoot and . Next Say Never’, I play lead trumpet and solo. I’m working beginnings drumming behind pianist McCoy Tyner was the powerful fusion group Larry Coryell & The on two albums, I just have to mix: High Noon, more and as an original member of fusion supergroup Eleventh House, with the titular guitarist, which lasted bluesy , and Smooth As Silk, which is more smooth Weather Report, Mouzon has sustained an active for just a few years before a brief run as the Coryell/ contemporary jazz. The late great guitarist Jeff Golub, musical career for decades. He has performed with Mouzon Band. German record label MPS has recently along with guitarists Larry Coryell, , Julian Stevie Wonder, , and Jeff launched a reissue campaign, which includes two Coryell and Jeff Richman are playing on [both records , as well as an incredible list of jazz greats Mouzon classics from 1977 and 1979 respectively: In and they] feature me on lead trumpet, as well as on including , Miles Davis, Herbie Hancock, Ron Search Of A Dream, a jazz-rock powerhouse, and Baby drums and keyboards.” Carter, Dizzy Gillespie, , , Come Back, a disco-funk party. Both titles have been Mouzon and Coryell continue to build on their and dozens more. He has been a widely remastered for digital download; the former is also musical partnership of over 40 years. The Eleventh sought after and a hugely influential drummer across available on CD. House was reborn in 1998 and toured the world. On multiple genres. “Miles was trying to get me to leave Mouzon was just 19 years old when Mongo Apr. 5th, 2013 they performed a reunion concert for McCoy Tyner,” Mouzon recounts, “He sat down beside Santamaria recorded two of his compositions, thus Coryell’s 70th birthday with the original members of my drums at the and beat on my bass launching the publishing company, Mouzon Music. the band. Meanwhile, “I’m planning on going back on drum. McCoy said, ‘Oh, man, I’m in trouble.’” Over the years he has licensed his music to television the road,” says Mouzon. “I have a super group with Outspoken about his influence has been the band and film and he is hopeful that copyright reform will Wallace Roney called Miles Smiles [with] people that . In his Hall of Fame come to favor musicians. “It’s about time the copyright associated with Miles. We tour all over, sell out the acceptance speech on behalf of the band, vocalist office woke up! , songwriters, publishers concerts and it’s big.” If that’s not enough to keep him mentions Alphonse Mouzon. Music and labels [need] more control. Radio and TV will have busy, Mouzon is a part-time actor. He appeared in 1996 journalist Stephen Davis, author of two books about to come clean and pay up! Music is not for free! I’ve alongside in That Thing You Do! and the Led Zeppelin, talks about John Bonham thundering been losing $60,000-$100,000 a year because of illegal last film he did was The Dukes with along to his Alphonse Mouzon records before, after file-sharing and downloads.” In 1992 he started and Robert Davi; he licensed a couple of tunes and and between gigs. Mouzon was one of the 30 drummers Tenacious Records, “because I don’t give up, I’m played the part of a doo-wop singer. v who recently performed at “The Bonzo Bash” at the resilient and tenacious like a pit bull, I’ve got to keep Santa Ana Observatory in January. Video excerpts from going.” For more information, visit tenaciousrecords.com that concert, as well as Robert Plant’s speech, can be In addition to a steady output of new recordings, found online. Mouzon was also an inspiration to drum Tenacious reissued a number of earlier records, which Recommended Listening: builder Canopus, which he now endorses. They are he could do because he always owned all of his music. • Weather Report—Eponymous (Columbia, 1971) currently working on an Alphonse Mouzon signature “Own your stuff,” Mouzon advises. “If you’re the • McCoy Tyner—Sahara (Milestone, 1972) snare drum. owner of a pizza place, own the recipe. Record • Larry Coryell & — On Oct. 13th, 1970 Wayne Shorter recorded companies will rip you off if you don’t watch it. You At Montreux (Vanguard, 1974) Creation, with Mouzon, Tyner, bassist Miroslav Vitous could have 15 million plays and they might give you a • Alphonse Mouzon—Mind Transplant and percussionist Barbara Burton, but it was never thousand dollars.” The reissues include titles from the (Blue Note, 1974) released. “We were actually the first version of Weather ‘80s, which feature several of Mouzon’s regular • /Jaco Pastorius/ Report before replaced McCoy and Airto collaborators including Herbie Hancock, Freddie Alphonse Mouzon—Trilogue—Live! (MPS, 1976) replaced Barbara,” recalls Mouzon. “It was Wayne’s Hubbard, , , , • Alphonse Mouzon—In Search Of A Dream vision.” Shorter’s vision had been hinted at on his , , Jr. and many more. (MPS-Edel, 1977) LEST WE FORGET

artist and woman, thanks, in part, to the influence of Carmen McRae Betty Carter Duets, recorded live in San Gladys Hampton, Lionel’s wife. Still, Carter needed a Francisco (1987), Carter signed an agreement with BETTY CARTER break and it came from Charles, through Miles , which not only released new recordings Davis. Acting upon Miles’ recommendation, Ray but also reissued the majority of her older material. by donald elfman signed her to do a recording of duets with him. Ray From the late ‘80s through the ‘90s, Carter thrived. She Charles and Betty Carter became a giant hit, popular received a Grammy award, performed at the White Betty Carter was a one-of-a-kind artist. She remains with audiences and the press. It even had a smash House and was a major feature of Verve’s 50th the embodiment of modern fullest jazz singing, her art single, “Baby It’s Cold Outside”. anniversary celebration in 1994 at . And comprising composition, daring improvisation, a But Carter was raising a family and so chose not to there’s Betty Carter’s Jazz Ahead, a special educational unique sense of time and harmony and a desire to find capitalize on the success of the recording. She did residency at The Kennedy Center in , DC, and teach young talented vocalists and instrumentalists. record several albums in 1963 and 1964, but essentially which identifies talented players and gives them a Born Lillie Mae Jones in Flint, Michigan on May did no other recording from 1961-68. In 1969, she special chance to learn and perform (launching careers 16th, 1929, Carter studied piano at the decided she wanted back into the business. She did a for pianists Jacky Terrasson and Jason Moran). Carter Conservatory of Music. As a teenager she played with few albums for Roulette and then started her own died Sep. 26th, 1998. v artists—notably Charlie Parker—when they worked label, Bet-Car. The Bet-Car albums are considered by Detroit. Carter won an amateur contest and, in 1948, many to be among the finest jazz vocal albums. The A Betty Carter tribute is at The Appel Room Mar. 6th-7th. joined the band, performing as Betty Carter Album, Betty Carter (reissued later as At The See Calendar. Lorraine Carter. Hampton coined the nickname “Carter Village Vanguard), I Didn’t Know What Time It Was and, Be-Bop” and, though she didn’t care for it, changed her the apex of these recordings, The Audience with Betty Recommended Listening: stage name to Betty Carter and moved to New York Carter, are brilliant, fiercely independent statements • Betty Carter—Out There With Betty Carter (What A after traveling there with the Hampton band. made by an artist who was increasingly sure of her Little Moonlight Can Do) (Peacock-Impulse, 1958) In New York, Carter played shows at The Apollo own stunning talents and also enthusiastic about • /Betty Carter—Ray Charles and Betty and worked with such luminaries as Dizzy Gillespie nurturing talented young musicians who could Carter (ABC Paramount, 1961) and . She became known as an artist who beautifully negotiate the challenges of this music. • Betty Carter—Betty Carter (At The Village Vanguard) didn’t take to any notion of mainstream style. She Among these were pianists Stephen Scott, Mulgrew (Bet-Car/Verve, 1970) made her first recording in 1955 with pianist Ray Miller, and ; saxophonists • Betty Carter—The Audience with Betty Carter Bryant (Meet Betty Carter and ); this and Mark Shim, and ; and (Bet-Car/Verve, 1979) several other recordings received little attention. But drummers Kenny Washington and . • Betty Carter—Look What I Got (Bet-Car/Verve, 1988) she was gaining some notoriety as an independent After Whatever Happened to Love (1982) and the • Betty Carter—Feed The Fire (Verve, 1993)

10 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD LABEL SPOTLIGHT

Since the introductory session of , RG’s and that’s what’s on the first record.” first signing, many artists have been associated with What about the idea that many RG artists are RUNE GRAMMOFON the label, some of whom came to him, some of whom considered to be pop, rock or anything but jazz or he sought out. Why sign a certain artist? “It will improvised music? “I never had the intention to be a by ken waxman normally be a combination of me liking the music, jazz label, but to release music in most categories that seeing originality there and feeling that the music met certain standards set by me,” insists Kristoffersen. Helping to define and preserve sometimes deserves to be heard and put out. Any thread would be “A lot of my artists fall in between normal categories, uncategorizable improvised music was one of the goals my own quite broad taste in music,” he insists. which is considered a nightmare for marketing of Norwegian Rune Kristoffersen when he started his “Rune is highly professional and dedicated to the departments. But I never aim for anything in that Oslo-based Rune Grammofon (RG) label in 1997. music. I love the fact that he says that he has to burn regard and I don’t consider how I can market an artist. “A new scene was forming with young artists doing for the music, otherwise it won’t be released,” says I just want to release great records.” exciting music,” he recalls. “But they had nowhere to Swedish saxophonist Gustafsson, who has recorded “We identify very much with many of the other release the music since the majors weren’t interested.” for RG in small groups and with his big band. “We do bands on Rune Grammofon,” explains Thomassen. Kristoffersen decided to fill the gap and, as of the end all the artistic work and the decisions about the music. “Rune also has a deep respect for the artists’ artistic of 2014, RG has released 176 sessions touching on Then when the music is done, Rune takes over.” vision. That doesn’t mean that we don’t disagree on aspects of folk, jazz, ambient, electronic and rock. Most of RG’s artists are from his homeland. And different matters, but it means that he’s respectful if Artists include Supersilent, Hedvig Mollestad while there aren’t hard and fast rules, Kristoffersen the band has one unison opinion.” Thomassen’s trio and ’s Fire! says “these days there is so much local talent that it’s 18 years after its beginnings, Rune Grammofon Orchestra, with some popular discs like Supersilent’s very unlikely I’ll sign new artists that aren’t from remains a one-man show. Available on a project-to- reprinted many times and most of the catalogue still in .” Jokes Gustafsson: “Since with Fire! we project arrangement are a couple of freelance out-of- print. That’s an impressive indication of support for wanted someone that could really focus on us and our country PR folks, plus Kim Hiorthøy, who is responsible novel Nordic sounds from someone who, in the ‘80s, music, it was an easy choice to approach Rune and ask for RG’s distinctive sleeve design. “RG’s graphic work released six albums as one-half of the fashionable him for collaboration. We also thought it would be is amazing and that Rune works so close with Hiorthøy Norwegian pop duo Fra Lippo Lippi. good for him to not only work with Norwegian is very important for me personally,” adds Gustafsson. By the mid ‘90s however, Kristoffersen had become groups.” In most cases RG’s recording artists are responsible Norwegian label manager for ECM Records. Excited “Rune Grammofon was the only label in Norway for all expenses until the finished master. Meanwhile, by the local scene, he also wanted to work “with artists where we wanted our records released,” stresses RG stays afloat through funding from Norwegian from scratch, not just with the finished product, as I guitarist Thomassen, whose trio has put out three RG government agencies and catalogue sales. That too has did with ECM,” he says. Although the label’s name is CDs. “We recorded our first album without any record changed as physical sales decrease, Kristoffersen notes. made up of combination of his and gramophone, company involved. But I only contacted Rune, no other While most RG releases are available for digital “runes are also ancient language inscriptions,” he label. I had met him before working with some of the download, “it’s not a major part of the business as of explains, “so, it has a certain relevant connection to the artists on his label and knew that he knew about the today.” Another adjustment is the popularity of vinyl, medium.” trio. I emailed him and he wanted to hear what we had (CONTINUED ON PAGE 50)

12 Enter What / If / They Both Could Fly Night First Detail Supersilent Fire! Orchestra & Joe McPhee Albatrosh Detail VOXNEWS

Jazz Master vocalist Sheila Jordan, who will appear vocalist Theo Bleckmann and composer . with pianist Steve Kuhn’s trio (Mar. 31st-Apr. 4th). In the Meredith Monk lineage, a genre-defying HERSTORY And every time there’s a chance to hear singer/piano ‘jazz’ vocalist to watch out for is the young Chloe player Barbara Carroll just go. She’s in residency every Levy, whose exquisite lyric soprano voice can slide by katie bull Saturday. To say “they make it look easy” doesn’t like Björk into rich jazzy alto depths. Levy is scratch the surface of the stunning truth and simplicity spontaneous, meditative and fiercely engaging; she Women’s History Month invites gratitude, respect their mastery yields. will appear with guitarist Ben Monder at The Firehouse and celebration of all the jazz vocalists who have come Speaking of residencies, Melissa Stylianou’s Space (Mar. 27th) and solo at SEEDS (Mar. 18th) and before us and those who are forging ahead. tones are earthy, rounded and swing with a refreshing Bowery Arts + Science (Mar. 22nd) for the CD release Iconic three-time Grammy winner Dee Dee purity. Her album of standards, No Regrets (Anzic), is a of her new solo album Dust (Unit). Bridgewater will be at Blue Note (March 10th-12th and gorgeous extension of the . Another jazz vocalist outside the box is Yoon Sun 24th-29th, the latter as part of the annual James Moody Stylianou can be heard at 55Bar every third Wednesday Choi, who will appear with pianist Jacob Sacks at Weill Birthday Tribute). The legendary Bridgewater has four (Mar. 18th). She’ll also be at Saint Peters (Mar. 1st, 8th, Recital Hall (Mar. 25th), performing repertoire of a decades of recordings and national and international 22nd and 29th) and singing in harmony “Boswell wide range of American composers, from Charles Ives performances to her name. She is powerfully present— Sisters” style with jazz vocal group Duchess (Stylianou, and Hank Jones to Ira Gershwin. Choi sings with in fact, her performances define presence. Amy Cervini and Hilary Gardner) for the release of unrestrained, embodied gusto and her free-spirited In 2012 Bridgewater was awarded a Bistro Award; their eponymous Anzic CD at Jazz Standard (Mar. 3rd). sense of ironic humor is fun. this year New York’s own Bronx-born jazz great Carol As part of the Lady Got Chops festival (which In the realm of jazz, groove, r&b and pop fusion, Fredette, also rooted in tradition, is a featured winner features numerous singers!) Charenee Wade (Mar. New York-born, Croatian-raised vocalist Thana Alexa of the 2015 Bistro Awards’ Outstanding Major 12th) and Marianne Solivan (Mar. 24th), two of the recently was awarded second place in the Made In Engagement (for her 2014 performances at 54Below). best contemporary vocalists around, will bring gutsy Competition. Alexa will meld genres as Fredette’s effortless straightahead swinging is melodic, blues edges to Harlem’s historic Minton’s. On the other she celebrates her new release Ode to Heroes (Jazz vulnerable and gritty. Other Bistro jazz winners include end of the spectrum, improvising vocalists will Village) at SubCulture (Mar. 23rd). jazz vocalist Marissa Mulder for Best Vocalist and acknowledge avant garde pioneer vocalist Meredith In response to questions about attitudes towards Gabriella Stravelli for Best Jazz Vocalist. The event Monk as an influence who altered their assumptions more than one respected vocalist has will be held at the Gotham Comedy Club (Mar. 4th). about “chops”. Monk celebrates 50 years of inventing said, keep the focus on the music. However, were it not Two octogenarian jazz legends mentioned in and stretching the voice beyond known bounds at for female musicians of the past stepping up in the face previous columns will grace the Birdland stage with Zankel Hall (Mar. 22nd). Numerous luminous ‘friends’ of gender inequality, we wouldn’t have the joy of that powerful voices. You can never get enough of NEA will participate from multiple genres, including jazz focus today. v

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 11 IN MEMORIAM

JEFF GOLUB (Apr. 15th, 1955—Jan. 1st, 2015) The smooth , in CLIFFORD ADAMS addition to 12 albums as a leader for Atlantic, GRP and E1 since 1988 and by andrey henkin credits in the rock and blues worlds, worked with , , Gato Barbieri, and . Golub died Jan. 1st at 59.

IVAN JULLIEN (Oct. 27th, 1934—Jan. 3rd, 2015) The French bandleader, trumpeter and composer worked with Jef Gilson, and other countrymen, wrote for Didier Lockwood and a number of French vocalists like Charles Aznavour and led the Jazz All Stars in the ‘60s. Jullien died Jan. 3rd at 80.

TOMMY RUSKIN (Jul. 15th, 1942— Jan. 1st, 2015) The Kansas City drummer Clifford Adams, trombonist for R&B-funk band Kool stayed in his hometown to local acclaim, & the Gang since the late ‘70s, whose early experience performing regularly at numerous was in the bands of , and venues, worked with , Clark and later worked with Slide Terry, Bill Watrous, Carl Fontana and Hampton, , Charles Davis and Vincent and recorded with Mike Herring, as well as releasing a handful of straightahead Metheny, the older brother of Pat, the latter to whom and R&B jazz albums in the late ‘90s-early ‘00s, died Ruskin gave his first playing opportunities as a Jan. 12th at age 62 after a battle with liver cancer. teenager. Ruskin died Jan. 1st at 72. Adams was born Oct. 8th, 1952 in Trenton, NJ. After singing in the church choir, he began playing the trombone—“bought it with the $75 I received as a gift PAUL SERRANO (Jan. 1st, 1932—Jan. when I graduated from junior high school” he said on 15th, 2015) The trumpeter and recording his website—and was taught by Tommy Gryce, engineer had early performing credits younger saxophonist brother to Gigi. His first with James Moody, Mongo Santamaria, professional gigs came in his late teens in local funk Art Farmer, Duke Ellington and Bunky bands. While attending Trenton State College for Green, led a 1960 quintet session for music, he frequented the Fantasy Lounge and met a Riverside produced by Cannonball number of musicians with whom he would later work. Adderley and was the engineer for albums by Ahmad Organ player Charles Earland used a then-20-year-old Jamal, , Ramsey Lewis and numerous R&B Adams for his Prestige albums Soul Story (1971), Live acts. Serrano died Jan. 15th at 82. At The Lighthouse and Intensity (both 1972) and Kharma (1974). During the late ‘70s, Adams recorded with keyboard player Lonnie Liston Smith, guitarist Reggie WARD SWINGLE (Sep. 21st, 1927— Lucas, organ player Rhoda Scott, saxophonist Charlie Jan. 19th, 2015) The American pianist Rouse and the Thad Jones/ Orchestra and and singer founded the Grammy- toured with Duke Ellington’s orchestra and drummer winning French vocal group Les Max Roach’s band. Swingle Singers in the early ‘60s (which Adams’ first recorded work with Kool & the Gang featured jazz vocalist Christiane came on the 1979 platinum album Ladies’ Night, which Legrand), bringing jazz cadences and marked a change in their style to more pop-oriented improvisation to the works of classical composers, and funk from their original soul and R&B output. He later similar groups with slightly different names in would go on to appear on albums through 2013’s Kool the UK and US. Swingle died Jan. 19th at 87. for the Holidays, playing trombone and providing backing vocals and occasional arrangements. His jazz work didn’t stop, however, as heard with trombonist Pae Kollektiiv consists of 10 young, ardent musicians who ’s World of Trombones, saxophonists met while studying in the Estonian Academy of Music. This Charles Davis, Bobby Watson, Mario Escalera and ensemble was born in spring 2013 when they came together Jimmy McGriff, Earland again and, most recently, the to record some arrangements made by other students. After working together they discovered a great vibe and synergy, Spirit of Life Ensemble and the groups of saxophonist and they have been playing together ever since. and trumpeter Anthony Branker. In 1998, Adams released his first album as a leader, a straightahead jazz outing called The Master Power for Naxos Jazz with saxophonist Antonio Hart, Kenny Barron, and and featuring mostly his originals. This was followed by Cliff Notes and Love’s Gonna Get You, both of which were released by Orpheus and included Kool & the Gang bandmates. His final album was 2006’s I Feel Your Spirit (BCS Records). Perhaps his observations about the aforementioned Cliff Notes best sums up his career: “My initial intent...was to use the trombone as a voice PAE KOLLEKTIIV to merge two genres together in a way that was A totally new fresh breeze in jazz. Pae Kollektiiv´s new album will be released palatable for the general public... I feel [it] offers music in December 2015 that has deep as well as commercial overtones.” soundcloud.com/paekollektiiv

12 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD FESTIVAL REPORT

festival does indeed offer plenty of this). Local residents are able to participate in a variety of music PANAMA JAZZ FEST classes and attend any of several free outdoor concerts. Youn Sun Nah & Jazz masters from around the globe offer clinics for Ulf Wakenius by suzanne lorge up-and-coming players during the day, before taking to the stage in the evening. Music therapists from Latin America and the U.S. present daily lectures explaining how music works to enhance personal and social well- being. And after hours, at Danilo’s Jazz Club in the elegant American Trade Hotel, there is a nightly jam session. Beneath the excitement of the performances and rigor of the classes, however, lies a deep understanding of the conditions that help to shape musical creativity—proper education, health, performance opportunities and social connection. Pérez attributes his understanding of these principles to his father, a teacher and musician who gave a great deal of thought to the role that music could play in a l society and Pérez and Zarate see the beneficial effects y A in action each day at the Foundation, o r their center for music education that sits in the heart of Casco Viejo, a once-gang-torn section of Panama City. N é s t Danilo Pérez & At the center they not only offer music training to students of all ages and socioeconomic backgrounds, At the opening of the Panama Jazz Festival (Jan. Zarate says, but they work to “instill self-respect” in 12th-17th), Lorena Castillo García de Varela, the first their students, with inspiring results. “Hundreds of lady of Panama, formally pledged ongoing kids who could be in jail today are not in jail,” she governmental support for the annual weeklong event. affirms. “They’d rather play music”. First, she awarded pianist and native Panamanian In the early years of the Foundation, Pérez held the Danilo Pérez, who founded the festival 12 years ago, festival in the music center’s classrooms and salons. an ambassadorship. Second, she announced that the But when the size of the festival’s audiences grew government would take over as a primary sponsor of beyond the center’s capacity, Pérez decided to move the festival, emphasizing the important role it plays in the festival to Ciudad del Saber, or City of Knowledge, Panama’s economy. These pledges give Pérez both the a sprawling complex on the site of the former U.S. authority and means to promote Panama globally as a Army base in Panama. “We purposely moved [to the jazz hub in Latin America, a mission that he City of Knowledge] because of the tension between the espouses with enthusiasm. His enthusiasm is no less U.S. and Panama, literally to heal the relationship for the broader mission that he has taken on with his between the two countries,” Zarate explained. “It’s not wife, Chilean-born saxophonist Patricia Zarate: to a military base anymore. We’re in a new era…Now we demonstrate how music can facilitate social change. are going to be the soldiers of peace who are going to The festival itself—packed with workshops, auditions be lining up here.” The City of Knowledge comprises and performances featuring jazz headliners, music the school buildings where the workshops and educators and elite jazz students—offers a compelling auditions happen during the day; the Teatro Nacional ACT 9030-2 cd / vinyl / download example of the transformative power of music. (National Theater), where the headliners performed Pérez is probably best known as one-third of each evening; and an expansive lawn for the grand saxophonist Wayne Shorter’s Grammy-winning finale outdoor concert. This lawn is the former muster “2014 concert of the year” rhythm section with bassist John Patitucci and grounds of the army base. Today more than 20,000 voted by nyc jazz record drummer Brian Blade. He is also an UNESCO Artist for concertgoers congregate in the same space to listen to blue note performance, Sept 16th Peace, founder of the Danilo Pérez Foundation and the some of the world’s most prominent jazz musicians. nearby jazz club in Panama City and Artistic Director Among those musicians this year were performing at the Berklee Global Jazz Institute (BGJI) in Boston. artists from all over Europe, Asia and the Americas, “great intimacy, poetry and charm” (allaboutjazz.com) It’s a heavy workload, to be sure, but no heavier than each emphasizing the contribution that Latin America Pérez’ commitment to this work. “We are guardians of has made to jazz. For instance, trombonist Phil Ranelin the creative process,” he asserts. played an exhilarating tribute to , born to As such, Pérez and Zarate present a festival that Panamanian parents; Pérez, Patitucci and Blade backed offers more than musical entertainment (though the singers Rubén Blades and Omar Alfanno in moving renditions of Panamanian tunes; and Puerto Rican saxophonist Miguel Zenón led the spectacularly talented BGJI students through some of his complex, high-powered compositions. It’s in young players such as the BGJI students that Pérez looks to instill both the sense of responsibility ACT 9024-2 ACT 9019-2 and the practical tools for using music to evoke social change. Besides giving these students the opportunity to play alongside world-class musicians, he has them perform in hospitals and nursing homes, always admonishing them to “think about the disadvantaged.” At the end of the final concert of the festival, just before the salsa dancing began, Pérez brought five young students from the Foundation up to the stage. Each had auditioned for and won a scholarship to Berklee’s summer school program in Boston. “I’m ACT 9565-2 ACT 9523-2 really emotional about it,” Pérez said. “We’ve been talking about the restoration of an area [of the city], us distribution by but here we are talking about the restoration of humanity.” One young musician at a time. v www.actmusic.com For more information, visit panamajazzfestival.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 13 CD REVIEWS

culminating in Frank Loesser’s “What Are You Doing as a familiar presence in NYC. Pianist Sylvie New Year’s Eve”, a glorious tune on which Solivan Courvoisier has been a regular guest at these events, finds a great combination of hope and yearning. but until Either Or And hadn’t recorded with Parker. Solivan has a darkly beautiful voice, subtle With such a distinctive voice as Parker’s, it can be a understanding of vocal shading and ability to work challenge to know how to reciprocate. That’s especially with a great band. Most importantly, she can express so for Courvoisier, who has so many options— the diverse feelings that love engenders. responsive improv, contemporary abstraction and, as proven with her trio on Double Windsor (Tzadik, 2014), For more information, visit hipnotic.com. Solivan is at tradition-oriented jazz—at her disposal.

Spark Antibes Bistro Mar. 3rd, The Astor Room Fridays, Smalls Generally though she chooses to meet Parker on Marianne Solivan (Hipnotic) Mar. 8th and Minton’s Mar. 24th. See Calendar. his own turf. That’s the case on the powerful opener “IF/OR”, where she answers rapid-fire gobbets of by Donald Elfman snarled with assertive evenly The pleasure of Spark is Marianne Solivan’s sense of articulated runs recalling . “Stonewall”, adventure in love songs. She takes on so many types, another highlight, begins with breathy harmonics and listeners will be dazzled by a sense of discovery. pretty chords but, gradually, become subverted by On the opening title track, Solivan dives into a increasingly bracing exchanges, culminating in a challenge of her own creation, which takes unexpected headlong rush of yelping saxophone and ringing turns as it speaks of the power of love. She throws out piano. But the Englishman doesn’t get it all his own a flurry of lyrics over bass and drums, sending her way. On “Oare” Courvoisier opens with gentle strums melody spinning. Pianist Xavier Davis follows with a inside the piano, evoking a ghostly banjo, which pungent solo, full of harmonic and rhythmic activity, eventually draw a tentatively drifting tenor drone, Luminosa then Solivan returns and brings the song to a conclusion Anat Cohen (Anzic) spiced with angular multiphonic squawks. reflective of its explosive title. Other Solivan originals by Mark Keresman The piano innards provide a fertile palette for vary in mood and color, such as the tender Latin-ish Courvoisier. Such excursions frequently lead Parker to pulse of “If I Were to Love You” and romantic intimacy Israeli-born, NYC-residing clarinetist Anat Cohen is run his notes together into an unbroken stream, of “On a Clear Night”. She also wrote lyrics for Davis’ one of the straight-reed-instrument stars of our time, particularly on soprano saxophone, where his pointed-yet-gentle “The Dove” and throbbing music with a rich, deeply sonorous tone and contextual billowing yapping lines float above the percussive for poet Frederico Garcia Lorca’s “First Desire”. variety. Luminosa is music of or inspired by Brazil, all clanking, reaching glorious apogee on “Stillwell”, the And then there are the classics. Solivan has chosen wrapped up in a package undeniably all her(s). combination resembling a runaway hurdy gurdy a rare Oscar Brown Jr. tune, “Hum Drum Blues”; The festivities begin with Milton Nascimento’s pursued by a string of cans tied to its undercarriage. though it’s about being in a rut, the singer shows that “Lilia”, in which clarinet soars like early ‘60s John Parker has worked with many accomplished pianists she’s anything but, driving it forward with the help of Coltrane and Daniel Freedman’s drums crack like the in the past but this encounter ranks among the best. bluesy piano, a range of bass textures from Matthew great drummers of New Orleans. Restless, modal- Parrish and rhythmic punctuation by Gregory sounding “Cais” finds Cohen on bass clarinet, For more information, visit relativepitchrecords.com. Hutchinson. Other surprises abound in the standards, sumptuously velvety, suavely negotiating the restless Courvoisier is at The Stone Mar. 10th-15th. See Calendar. ocean currents of pianist Jason Lindner. The ebullient, swirling “Espinha de Bacalhau” features Cohen in the • Admiral Awesome (Jacob Danielsen/ company of accordionist Vitor Gonçalves, finding the R Thomas Sejthen/Christian Windfeld)— Colleen Clark common ground between choro and klezmer. “Ima” is Makeout Music for Modern Lovers (feat. one of four Cohen originals—a beautiful modern jazz e Mikko Innanen) (Gateway Music) ballad, lush and languid, sprinkled with the moonlight • Criss Cross—Live at the Red Sea (K2B2) of a bossa nova tune, Linder’s electric keys shimmering c • Jack DeJohnette—Made in Chicago (ECM) like starlight, Freedman goosing the tune along, giving • Albert “Tootie” Heath Trio— it subtle but certain forward motion. o Beat (Sunnyside) Closer “The Wein Machine”, a tribute to famed m • Luc Houtkamp/Simon Nabatov/ jazz impresario George Wein, is the sole departure Martin Blume—Encounters (Leo) • Chloe Levy—Dust (solo) (Unit) from the Brazilian mode. ’s bass establishes m • Free Nelson Mandoomjazz— a too-cool groove over which Cohen engages in some e Awakening of a Capital (RareNoise) blues-tinged hardbop on tenor saxophone in the old- • Stefan Pasborg—The Firebirds (ILK Music) school style of Sonny Rollins and (especially) Dexter n • Alister Spence/Joe Williamson/ Gordon while the ghostly guitar of Gilad Hekselman Christopher Cantillo—Begin (s/r) moans like the wind through an old house. d • Mary Stallings—Feelin’ Good (HighNote) Luminosa is marked by economy and variety of Laurence Donohue-Greene, Managing Editor moods, mixing acoustic and electric instrumentation in e a vividly imaginative manner. This isn’t Cohen’s d Brazilian album—it’s the album where she commingles aspects of Brazilian music with her own style in an • Jeff Cosgrove/Frank Kimbrough/ Martin Wind—Conversations with Owls edgy yet engagingly accessible framework. n (Grizzley Music) • DRKWAV—The Purge For more information, visit anzicrecords.com. This project e (Royal Potato Family) is at Jazz Standard Mar. 4th-8th. See Calendar. • Duchess—Eponymous (Anzic) w • Free Nelson Mandoomjazz— Awakening of a Capital (RareNoise) • Laisser L’Esprit Divaguer— r Eponymous (Studio 234) • ROIL (Chris Abrahams/Mike Majkowski/ e James Waples)—Raft of the Meadows (NoBusiness) Introducing Colleen Clark - The Debut Album l • John Russell/Steve Beresford/John Edwards/ available on iTunes/Amazon Ståle Liavik Solberg—Will It Float? e (Va Fongool) “A very auspicious debut.” —Ed Soph a • Schlippenbach Trio—Features (Intakt) • Trio—To Duke (Rogue Art) “Very original and creative writing.” Either Or And s • Nate Wooley/Ken Vandermark— Evan Parker/Sylvie Courvoisier (Relative Pitch) East by Northwest (Pleasure of the Text/ —Paquito D’Rivera by John Sharpe e Audiographic) With a slew of residencies at The Stone, English Andrey Henkin, Editorial Director colleenclarkmusic.com saxophone legend Evan Parker has established himself s

14 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD

yet risky reworkings, reflecting the deep familiarity exposition to offer genuine discursive and she has developed with each piece. In Levy’s voice we deconstructed improvisations. Mitchell’s ingenuous hear extensive work beyond her jazz background— flutter-tonguing slyly undercuts the rock-inflected and having sung the works of Schoenberg, performed in percussive narrative that characterizes “Running the orchestral settings and initiated a project based on Ned Rooftops” and is later expanded with the penultimate Rorem’s song cycle Ariel from poems by Sylvia Plath. “The Labyrinth of Capture”. By the end of that track, Levy’s extended techniques include fluttering notes Taborn mirrors Mitchell’s lead so that the suite’s nerve- like a hummingbird’s wings (e.g., “My Favorite wracking poignancy is replaced by a heraldic fanfare. Things”) and piercing crescendos à la Patty Waters, Honoring her mentor in a unique fashion, Mitchell

Among The Stars providing contrast to a charmingly girlish delivery in has created a sophisticated tone poem that moves in its Kelley Suttenfield/Tony Romano (s/r) the vein of Blossom Dearie or Björk (“I Fall In Love Too own fashion and might inspire a line of action figures. by Marcia Hillman Easily”). Inspired by medieval composer Hildegard von For more information, visit roguart.com. Mitchell is at The This is as simple as musical storytelling gets—one Bingen (of the nine selections, two are hers), Levy’s Stone Mar. 24th with . See Calendar. voice and one nylon-string guitar. Vocalist Kelley melodies soar and linger over kalimba shadings. That Suttenfield and guitarist Tony Romano have joined tiny instrument’s significance cannot be understated, together to deliver a collection of eclectic material, adding a necessary backdrop not only to the bending IN PRINT including standards and folk, R&B, pop and Broadway of sung words but also to the poetic quality of the theater tunes. Romano provides excellent support to lyrics and Levy’s frequent improvised flights. Her Suttenfield’s vocals. He plays only rhythm and fills playing on “My Favorite Things” hauntingly replicates except for one solo on “Beautiful Love”, where he church bells while on “Strange Fruit” the kalimba shows off his fluid style ably. sounds like a slowly wound music box one moment, a What immediately strikes you about this intimate delicately played wooden Balinese Tongue Drum the CD is the slow tempo used on all of the tracks (with the next. exception of the oldie “Beautiful Love”, which is only From the hypnotic opening title track to just-as- slightly uptempo) and the lack of any kind of heavy mesmerizing closer (“Tree”)—two of her three original musical arrangements. This results in a soft, quiet, compositions—it’s 45 minutes that magically fly by almost lullaby-like feel to the performances. However, before you know it, beckoning closer listens. because of Suttenfield’s ability to sing in many styles, Jazz Child: A Portrait of Sheila Jordan Ellen Johnson (Rowman & Littlefield) this slow pace does not make the listener lose interest. For more information, visit unitrecords.com. Levy is at by Marcia Hillman She has a wide range of sounds, starting off with the SEEDS Mar. 18th, Bowery Arts + Science Mar. 22nd and first track (“”) on which she The Firehouse Space Mar. 27th. See Calendar. If anyone had a story to tell, it’s vocalist Sheila displays a breathiness reminiscent of Peggy Lee (who Jordan. Ellen Johnson has painstakingly crafted this also recorded the song). Her straightahead theatrical portrait of a unique jazz talent. approach is heard on “People Will Say We’re In Love”, Born in Detroit, Jordan was left by her mother done as a bossa and in which she plays with the to be raised by her grandparents in a poor coal- melody. There is even a bit of a folksy twang in her mining region of , reunited with her voice to be heard on renditions of ’s “I’ll Be mother in Detroit as a teenager. Her grandparents, Your Baby Tonight” and Neil Young’s “Harvest Moon”. mother and other members of her maternal family Her slow version of the Gerry Goffin- pop were alcoholics and Jordan has fought a battle with hit “One Fine Day” is refreshing, almost like a new alcohol for most of her life. What saved a teenaged song. The standout track is a moving version of Buffy Jordan was the music of Charlie “Bird” Parker. Bird Sainte-Marie’s “Until It’s Time For You To Go”, sung to became her mentor, her inspiration, her prophet, a The Secret Escapades of Velvet Anderson highlight all the song’s emotional impact. close friend and her reason for deciding to live a life Nicole Mitchell’s Sonic Projections (Rogue Art) Although Suttenfield may not have a true jazz by Ken Waxman “in jazz”. voice, she is an accomplished songbird of many The book tells of hanging out with jazz musical colors. Although not as overly programmatic as the recording musicians as a teenager in Detroit, writing words to of Intergalactic Beings, her Afrofuturistic sci-fi suite, Bird’s solos, Jordan’s relationship with saxophonist For more information, visit kelleysuttenfield.com. This this CD is another instance of how Nicole Mitchell’s and her move to New York City in project is at Perez Jazz Mar. 15th. See Calendar. burgeoning compositional abilities are keeping pace 1949. There she married , had a daughter with her acknowledged command of the flute. With and sang wherever and whenever she had the

The Secret Escapades of Velvet Anderson, Mitchell’s opportunity. Her divorce left her in the same quartet honors one of her mentors, tenor saxophonist position as her mother—a single parent—and as late Fred Anderson (1929-2010), with a nine-part linked as her 50s, Jordan held down a full-time job in order composition. to bring up her child. It wasn’t until 1962 that Jordan Mitchell, now based in California, established her made her leader debut after having guest flute mastery during two decades in Chicago, one of appearances on records. Since then she has been many younger musicians offered gigs at Anderson’s busy recording, performing and educating a new Velvet Lounge club. Reimagining him as a superhero, generation of jazz vocalists. She was named an NEA symbolically named Velvet Anderson, the titles of the Jazz Master in 2012. composition are suitably heroic to fit the graphic Johnson candidly portrays Jordan’s career Dust (solo) Chloe Levy (Unit) escapades of a comic book hero, elucidated musically history, battle with addiction in an environment by Laurence Donohue-Greene by Sonic Projects, Mitchell’s own version of the where alcohol and drugs were easily available and Fantastic Four with New Yorkers, drummer Chad struggle with a biracial marriage and raising a It’s been six years since Chloe Levy’s debut Leinicha Taylor and pianist , and tenor saxophonist biracial daughter in a time when society frowned (also on Unit), a vocal/piano duo recorded at Oslo’s David Boykin, Mitchell’s long-time Chicago colleague. upon such relationships. Rainbow Studio, legendary for hundreds of ECM Buoyant power is maintained throughout via keyboard The book contains a bibliography, discography sessions. Levy has returned with a well-crafted solo surges and percussion energy, with diamond-hard and reproductions of music and lyrics for Jordan’s statement, which, like her first release, is impeccably flute bleats and saxophone breaths outlining and songs, such as “The Crossing”—about her decision recorded at another wisely chosen locale. The acoustics toughening the themes. to fight her addiction—which she still performs. of an ancient Catalonian church accentuate the fragility Framed by an introduction (“Bright City”) and In this fascinating read, Johnson has captured of the voice as an instrument and the natural coda (“The Heroic Rescue”), Mitchell and Boykin use Jordan’s engaging personality—a legend surviving reverberations reinforce the album’s extreme intimacy. parallel expositions to define themselves as hero and life’s ups and downs with the clear vision of an This is a daringly sparse and personal statement, sidekick on “For the Cause”, the darkening scene set inner child, sustained by her love of music. with only ethereal kalimba as accompaniment. by kinetic piano runs. Dramatic keyboard flourishes Renditions of such standards as “I Fall in Love Too help build up suspense on the subsequent “Scaling the For more information, visit rowman.com. Jordan is at Easily”, “My Favorite Things” and “Strange Fruit” are Underground”, as rugged puffs and glottal abstractions Birdland Mar. 31st-Apr. 4th. See Calendar. given nearly complete melodic overhauls in confident from flute and tenor cut through the TV-cop-show-like

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 15

GLOBE UNITY:ESTONIA

Snowy Egret The Enchanted 3 Myra Melford (Enja/Yellowbird) Vlady Bystrov/Anto Pett/Anne-Liis Poll (Leo) Everything Here Is Possible My Dance Eponymous Alister Spence/Myra Melford (s/r) Judi Silvano (with Michael Abene) (JSL) Maria Faust Sacrum Facere (Barefoot) by Marc Medwin by Alex Henderson Eponymous Pae Kollektiiv (s/r) Myra Melford’s pianism and compositions occupy an Judi Silvano showed herself to be an imaginative by Tom Greenland introspective and contemplative space. No matter how interpreter of melodies and lyrics when saxophonist Estonia has not been known for its jazz artists, but rhythmically intense her playing or the melodies she Joe Lovano produced her first album, Dancing Voices, three recent releases prove that the jazz spirit is writes become, there is somehow room for reflection, back in 1991. And she hasn’t become any less daring alive and well on the Baltic Rim. for the nuance that allows each note a chance to be since, whether embracing Tin Pan Alley standards, The Enchanted 3, recorded at the Estonian heard, absorbed and felt before moving to the next. pianist Mal Waldron’s pieces or the Duke Ellington/ Academy of Music and Theatre in Tallinn, captures a The debut album by her Snowy Egret quintet is a Billy Strayhorn songbook. My Dance is an interesting series of free improvisations by vocalist Anne-Liis case in point. Time is suspended as each note of the departure because she performs her own material Poll and pianist Anto Pett, both professors at the brief “Times of Sleep and Fate” hangs blissfully in the exclusively, with only pianist Michael Abene for academy, and Russian-born reedplayer Vlady air; bass guitarist Stomu Takeishi and drummer accompaniment. Bystrov. The group’s close rapport is immediately are as melodically and contrapuntally The album’s material is varied and far-ranging. apparent, for they interact with lightning-quick inclined as guitarist and trumpeter Ron Silvano is at her most accessible on the festive, reflexes, picking up each other’s unfinished phrases, Miles. Parts of the following piece, “Little Pockets- Caribbean-flavored “Calypso” (which was on the making radical transitions with unerring ease. Poll, Everyone Pays Taxes”, work along similarly meditative aforementioned Dancing Voices) and bluesy a classically trained singer, achieves all manner of lines, but its opening bristles with energy as one of “Kokopelli’s Dance” but her more abstract side asserts vocal effects, from Wagner-ian chromatic leitmotivs those wonderfully fragmented Melford melodies, full itself on “F minor”, angular “Make It a Classic” and and high-speed pseudo-conversations to pinched of syncopated displacement and infectious rhythmic impressionistic “Echo Cardio”. The poppy “It’s So squeaks, yawning siren-calls and bawdy cackles. propulsion, bounces along. While the loss of meter is Amazing” sounds a bit like something singer- Pett switches off between traditional and prepared sudden, the transition back to a metric focus is first songwriter Carole King would pen while “Dust” is , the latter rigged to mimic Gamelan gongs stealthy and then exciting, Melford and Takeishi’s very much in the spirit of ‘60s postbop. and other metallophones. Bystrov appears on five ostinato guiding everyone back into the head while Another thing that makes My Dance unpredictable different and clarinets, achieving a Sorey and Ellman bandy patterns back and forth. Miles is the fact that the listener never knows whether or not seamless sound on each. Together, the trio finds new and Melford intertwine melodic threads over the Latin Silvano will be performing lyrics. Silvano sticks to forms and new stories in the chaos of the moment. percussion of “Ching Ching”, the latter stretching out wordless scatting on “Samba 33”, “Dust”, the title Sacrum Facere, an album featuring Estonian on what sounds like melodica rather than harmonium, track, “F minor”, “Calypso”, “Echo Cardio” and reedplayer Maria Faust’s arrangements for octet, as the notes state. Though these miniatures were “Kokopelli’s Dance” but shows her talents as a lyricist was recorded in her adopted city of Copenhagen, initially part of a multimedia event, they stand on “It’s So Amazing”, “Bougainvillea”, “Make It a but betrays its Estonian roots in the presence of perfectly well on their own. Classic” and “Our World”. Occasionally, Silvano’s Kristi Mühling, who plays the kannel, an Estonian Melford finds an equally sympathetic partner in expressive scatting moves into Brazilian territory: plucked zither, and in the inclusion of a recording of Australian pianist Alister Spence on Everything Here Is “Samba 33” and “My Dance” are equally reminiscent traditional folksong “Tütre itk” in the background Possible. The duo performs on a pair of beautifully of the type of scatting one associates with of the concluding track. Each member of the octet, matched Steinway D concert grand pianos, freely or Tania Maria. which also includes clarinetist Francesco Bigoni, improvising in a concert acoustic that is warm without Abene is a major asset throughout My Dance. Some tenor saxophonist Ned Ferm, pianist Emanuele ever being overly resonant. As with Snowy Egret, no pianists would have been intimidated if they had to Maniscalco, trumpeter Tobias Wiklund, trombonist matter how frenetic the musical rhetoric becomes, accompany a singer as adventurous as Silvano without Mads Hyhne and tuba player Daniel Herskedal, has excitement always leads to, or emerges from, moments the input of a bassist or drummer. But Abene has no a distinctive, conversational sound and each (except of repose. “Why say Dreams are White” shifts gradually problem rising to the occasion and handling the many Mühling) is the featured soloist on one of the charts. from dreamy modality to controlled freedom and back different types of songs that Silvano explores. My Faust likes to set the instruments in hymn-like while “A Bird Translates” follows similar trajectories Dance is a consistently pleasant surprise from this chorale textures, voiced in pared-down chords with further out and over a much longer duration. “Circular veteran singer. pentatonic melodies that move gracefully through Dispersion of Tones” is just that, a series of low- to related key areas. The instruments blend together middle-register melodic patterns, rife with accented For more information, visit judisilvano.com. This project is like rough-voiced singers in a street-corner choir, interaction and juxtaposition, which slowly fans out at Cornelia Street Café Mar. 30th. See Calendar. their subtle song creating a lasting impression. and intensifies before dissolving. The duo also engages Pianist/composer Kirke Karja is the guiding the pianos’ full sonic capabilities, especially on the light behind Pae Kollektiiv, a nonet composed of pointillistic title track. Overtones are sprinkled students who met at the Estonian Academy of liberally throughout the neo-Cage-ian dialogue of LESLIE PINTCHIK . Like Faust, she has a strong background in percussive timbres, melodic scrapings and rhythmic Saturday, March 21st contemporary classical music and evinces a fondness counterpoint. for chorale textures. In general, though, her Melford’s music demands a first-rate recording Sets at 7:30 PM, 9:30 PM and 11:30 PM compositions are more through-composed, with and it is granted in both cases. The subtlety of her Bar Next Door greater variations in texture and the presence of pianism—her dynamic shadings and the way she 129 MacDougal Street, NYC (212) 529-5945 guitarist Madis Meister, bassist Siim Usin and projects certain notes of a melodic line to create layers “...one of the more captivating recordings to come out drummer Tönu Tubli gives the music considerable of contrapuntal ambiguity—is matched by the way she so far this year...” edge. Her charts, arranged for three saxophones, engages the notions of freedom and tradition in her trumpet and trombone, often with the guitar joining compositions. Through it all emerges the sense of each Leslie Pintchik - piano as a sixth voice, typically unfold in a series of tutti, note and phrase being of the utmost importance and it Scott Hardy - bass soli and unison sections, a few in odd meters like is only disappointing that specific descriptions of the Michael Sarin - drums 7/4, many with two harmonic rhythms juxtaposed. way each of the Snowy Egret pieces relate to their Latest CD Amidst the floating harmonies and rolling climaxes, accompanying extramusical material were not IN THE NATURE OF THINGS Karja’s own playing is elegant and understated. provided in the liner notes. available now at Amazon and iTunes For more information, visit leorecords.com, For more information, visit jazzrecords.com/enja and barefootrecords.com and soundcloud.com/paekollektiiv alisterspence.com. Melford is at The Stone Mar 24th-29th, www.lesliepintchik.com including Snowy Egret Mar. 28th. See Calendar.

16 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD So Long, Eric! (Homage to Eric Dolphy)

Aki Takase/Alexander von Schlippenbach (Intakt) MAR 14 LAUGART XIOMARA Plays Love Suite by Eric Dolphy Potsa Lotsa Plus (Jazzwerkstatt) by Andrey Henkin

European jazz as we know it now was born from a commingling of folk traditions, classical foundations and martial ensembles. All it took to liberate Europeans from slavish aping of American jazz was a group of players one generation removed from WWII (setting aside old political and ethnic animosities in lieu of collaboration) and an extended visit from an American himself breaking away from blues-based forms towards something more through-composed. That was alto saxophonist/bass clarinetist/flutist Eric Dolphy and, shortly after recording Out to Lunch!, he went to Europe, first as part of the Quintet throughout April 1964 and then a number of concerts with various ‘pickup’ bands until his tragic death on Jun. 29th in (little did Mingus know that “So Long Eric”, named in anticipation of Dolphy leaving the group, would become his requiem). European musicians should thank Dolphy for what he helped wrought and now some, based in the city of his death, have: husband- JAZZ FESTIVAL wife pianist pairing of Alexander von Schlippenbach/ Aki Takase and saxophonist Silke Eberhard. While Takase and von Schlippenbach have explored Dolphy separately (though in both cases utilizing bass clarinetist Rudi Mahall, who also appears on So Long, Eric!), this is their first time doing so together. This live disc is also notable for the first time since 1966 that Schlippenbach has recorded with vibraphonist Karl Berger and only the second time since the mid ‘70s with drummer Han Bennink. The rest of the duodectet is filled out by younger players from the European freeish ARTISTIC DIRECTOR scene like saxophonist Tobias Delius and Henrik Walsdorff, trumpeter Axel Dörner and trombonist Nils Wogram and the material covers Dolphy’s compositions from 1960’s Outward Bound to Out to Lunch!. Even though pieces were written for quartets/quintets, the THE pliant swing is kept intact by the large group, no THU surprise with Bennink in tow. What is surprising is how AFRO-CARIBBEAN JAZZ OCTET most of the tunes are presented in renditions comparable MAR 12 in length or shorter than Dolphy’s album versions, the EDDIE PALMIERI DONALD HARRISON exceptions being “Hat and Beard” and “Miss Ann”. Of LUQUES CURTIS LITTLE JOHNNY RIVERO 8 PM all the recent Dolphy tributes, this one comes closest to ANTHONY CARILLO CAMILO MOLINA BRIAN LYNCH capturing his restless spirit. Along with five of her own romantically dense and knotty pieces, alto saxophonist/bass clarinetist Eberhard and her band Potsa Lotsa, a sextet of horns NEW CUBAN NEW YORK FRI with key contributions from Antonis Anissegos on electronics and keyboards, perform two Dolphy YOSVANY TERRY GREGORY TARDY MANUEL VALERA MAR 13 obscurities: the never-completed three-part “Love HANS GLAWISCHNIG Suite” and “Song for the Ram’s Horn”, a piece Dolphy OBED CALVAIRE BRIAN LYNCH 8 PM played with a quintet in November 1962 and inspired by a poem read at the same concert by Ree Dragonette. “Love Suite” was being written by Dolphy at the time of his death, to be performed at his upcoming wedding BOLERO MEETS JAZZ! SAT by a brass quintet and rhythm section with himself as the soloist. At that point, electronics in music were still IVAN RENTA RALPH MOORE MARSHALL GILKES MAR 14 in their formative stages so one wonders what the ZACCAI CURTIS YUNIOR TERRY VINCE CHERICO composer would have thought of their inclusion here; REINALDO DE JESUS XIOMARA LAUGART BRIAN LYNCH 8 PM to modern ears it breaks up the texture of the horns nicely, puncturing a bit the stuffiness in the suite, born of some of Out To Lunch!’s more classically-inspired An agency of UJA-Federation 4 5 6 moments, while adding a mid ‘60s sci-fi element. “Song GIANTS OF LATIN JAZZ—ON THE BEST STAGE IN NYC | 92ND & LEX for the Ram’s Horn” impressionism works better within the context of this stately ensemble. TICKETS SELL FAST—ORDER TODAY! | 92Y.ORG/JAZZ | 212.415.5500 LATIN ON LEX JAZZ FESTIVAL IS UNDERWRITTEN BY GILDA AND HENRY BLOCK IN MEMORY OF KENNETH KOLKER Z”L. For more information, visit intaktrec.ch and jazzwerkstatt.eu

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 17

neighboring Dutch musicians from Willem Breuker to Cy Coleman-Carolyn Leigh novelty “A Doodlin’ Cor Fuhler. The Detour Fish chronicles the trio’s meeting Song”; and Melissa Stylianou on Sammy Fain’s with Portuguese trumpeter Susana Santos Silva at the “Hummin’ to Myself”. These three women have full- Ljubljana Jazz Festival in 2014, but it’s hardly a casual throated, melodious voices and each knows how to sell jam. The musicians were in residence there and the a lyric. results documented reflect both empathy and effort. “I’ll Be Seeing You” gives proof that these singers The eight fish-related titles (trans-species inspiration bring a modern yet sensibility to a ballad. seems to be a theme) feel like a suite, with four Then they close the proceedings with a wacky ‘20s compositions by pianist Fulco Ottervanger, three by approach to the old favorite “Heebie Jeebies”. Duchess

Coin Coin Chapter Three: River Run Thee Santos Silva and the collectively credited improvisation has a serious sense of humor and it informs all they do (Constellation) “Weirs”. Further underlying the music is a certain for an engaging experience from start to finish. by Phil Freeman inspiration from Schubert’s Trout Quintet. The collective idiom is as fluid as water itself. The For more information, visit anzicrecords.com. This project Saxophonist and composer Matana Roberts’ multi- members of De Beren Gieren have a remarkable is at Jazz Standard Mar. 3rd. See Calendar. part work Coin Coin, each chapter its own album, has collective process, their music advancing as a gotten more and more intimate as it’s gone on. The first continuous melodic flow passed back and forth among chapter featured a large ensemble performing the members—bassist Lieven Van Pée and drummer SARAH SILVERMAN & BRUCE BARTH ambitious, broad-canvas orchestrations, horns and Simon Segers as well as Ottervanger—with little strings and rhythm all swirling around and tumbling distinction for solos or where composition ends and over each other. The second chapter was arranged for a improvisation begins. Santos Silva might be the ideal smaller, more traditional jazz group and had an collaborator, an equally flexible musician whose linear abstract, meditative swing. This third chapter is a solo focus is both a complement and a central voice. The disc, but only in the sense that Roberts is the only group’s four-way dialogue is never clearer than on her performer. It foregrounds her voice (singing and “Battle with Fishself”. reciting), atop a bed constructed out of layers of While Santos Silva can bring her trumpet voice saxophone, keyboard drones, taped voices (including a down to mere air or touch on the instrument’s speech by Malcolm X) and more. traditional bravura, it’s her expressive range and “Why do we try so hard? / Because we should”, middle register that command absolute attention, from Roberts sings on the opening “All Is Written”, her the subtly expressive pitch gradations that she brings JAZZ AT KITANO voice soft and mournful. Behind her, what sound like to her “Dance of Trouts”, reminiscent of Kenny WEDNESDAY, MARCH 11 harmoniums drone in pulsing waves and ribbons of Wheeler, to the sudden explosive outbursts called for 8PM & 10PM saxophone float to the surface of the music, then in Ottervanger’s episodic “Sweet Repose Threat”, a recede. Additional voices (all by Roberts—some are work that reveals everyone’s capacity for a kind of reciting Bible verses, others are mere narration, as brooding, looming drama. WWW.THESARAHSILVERMAN.COM though preserving an oral history) emerge, swirl These musicians may not yet be widely known, RESERVATIONS: 212.885.7119 around each other, then disappear, like the snatches of but are already producing memorable, original work. conversation between songs on Pink Floyd’s The Dark Side of the Moon. For more information, visit cleanfeed-records.com As the album progresses seamlessly through its SYLVIE COURVOISIER various sections, the music becomes noisier and Residency at THE STONE March 10-15, 2015 weirder. On “Nema, Nema, Nema”, Roberts sings a plainsong-ish melody up front, as in the background an analog synth or some other kind of electronic sound generator whoops and buzzes like it’s either dying or achieving self-awareness. And the next track, “A Single Man O’War”, is built of piercing sine waves and some of the skronkiest saxophone on the album, with electronically lowered voices in the background that Tuesday, March 10 recall Diamanda Gálas. On “This Land is Yours”, two Eponymous 8pm: MALPHAS DUO with saxophone melodies are heard, first operating Duchess (Anzic) Masada compositions by John Zorn separately but eventually coming into harmony with by Donald Elfman 10pm: DUO with Marc Ribot one another. Because of its sheer density, this album requires Good old-fashioned swing, a sassy sense of humor, Wednesday, March 11 repeated, focused listening. Pick an element and sweet ‘30s-40s-inspired harmonies and a charming 8pm: TRIO with Jim Black and concentrate on it; next time, pick out something else. approach to songs of different vintages defines the 10pm: DUO with Taylor Ho Bynum You could be at it for quite a while and never feel like debut album by Duchess. The group is helmed by three you’ve wasted your time. veterans of the New York vocal scene in Melissa Thursday, March 12 8pm and 10pm: NEW QUARTET with Mark Feldman Stylianou, Hilary Gardner and Amy Cervini; Oded featuring Scott Colley and Billy Mintz For more information, visit cstrecords.com Lev-Ari (Cervini’s husband) suggested the project and wrote the skillful arrangements. The singers stress that, Friday, March 13 despite the fact that the Boswell and Andrews Sisters 8pm: MEPHISTA with Ikue Mori and Susie Ibarra are the inspirations, these songs are not recreations. 10pm: MEPHISTOMEPHIS with Nate Wooley, Ikue Mori, and That’s immediately clear from “I Love Being Here Jim Black With You”. The song is a 1960 Peggy Lee composition but the singers swing it with a straightahead groove, Saturday, March 14 aided by an in-the-pocket rhythm section of pianist 8pm: OCTET New Graphic Scores (TBA) Michael Cabe, bassist Paul Sikivie and drummer Matt 10pm: DUO with Mark Feldman Wilson. The ladies have added some up-to-date lyrics Sunday, March 15 about their current scene and the full complement of 8pm: SOLO piano players have a blast as they wail through to a happy The Detour Fish (Live in Ljubljana) 10pm: TRIO with Mark Feldman and Ned Rothenberg ending. This a rich mixture of the sublime and De Beren Gieren & Susana Santos Silva (Clean Feed) by Stuart Broomer ridiculous, evident in the nutty version of an already nutty song, ‘50s “Lollipop” (check out the wailing sax De Beren Gieren is a young Belgian piano trio solo by Jeff Lederer), and a devoutly sincere take of developing a distinct identity at the fractures of styles. Doris Day movie hit “Que Sera Sera”. It’s witty and surreal (the band’s name means nothing The singers each get a chance to take the lead: and translates from the Flemish as “The Bears Gardner on George Tibbles-Ramez Idriss’ rarely WWW.THESTONENYC.COM Vultures”), reminiscent in that regard of numerous performed “My Brooklyn Love Song”; Cervini on the WWW.SYLVIECOURVOISIER.COM

18 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD

clarion trumpet arises with a Spaghetti Western- songs plus four Friedman original compositions. flavored motif. Then it’s back to Beboptown, with Starting off with one of the originals, the Oscar some blazing Cassity, pianist Young Joo Song punchy Peterson-inspired and appropriately titled “Get Set”, and driving and Clark cooking on all burners. The Friedman sends out a swinging message that holds closer “Fresh” has a languid, hot-fun-in-the- true for the entire album. The lady has a whole summertime feel—Clark crashes like the surf against keyboard at her command and demonstrates that she the breakers, Wintz subdued yet his six-strings speaks knows how to use it, with breathtaking runs (note the with full, fat chords and Song’s keys spare and lyrical. use of her flexible fingers on Dr. ’s “I Wish Introducing is a virtually ideal jazz album— I Knew How It Feels To Be Free”), use of both the bass

Introducing memorable compositions, variety of moods, inspired and treble clef and ability to build an exciting solo. Colleen Clark (s/r) soloing, tight ensemble playing and a sense of economy. There is also a complete connection with her bandmates, by Mark Keresman Clark takes nary a solo—another Clark(e), exhibiting energy and enjoyment. innovator Kenny, in fact, disdained drum soli—but Friedman also can sing, as she does on three tracks: An NYC-based drummer in her mid 20s, Colleen she’s always steady as a heartbeat. her original “Lonely Sky”, lyric by Lee , Clark has helmed one of the most impressive debut with a haunting melody and done as a bossa nova; the discs these semi-jaded ears have heard in many months For more information, visit colleenclarkmusic.com. Clark is -Arthur Herzog, Jr. standard “God Bless of Sundays. While the pyrotechnics of and at ShapeShifter Lab Mar. 26th. See Calendar. The Child”, done with a bluesy touch and Friedman initially inspired her, Clark is a brilliantly playing a little with the melody; and Alan Jay Lerner-

self-effacing drummer. She propels her band with both Frederick Loewe’s “Wouldn’t It Be ?” in an swing and groove and in a way that’s virtually melodic. exciting rendition with tempo that alternates between Further, there are no over-performed standards to be superfast double-time and straightahead swing. heard—the program is all original compositions. Lewis, who knows how to play melody as well as Opener “Happiness Is Fast and Slow” has a keep time, demonstrates his mastery on the original pensive, gently undulating melody buoyed by Clark’s “Ripplin’” as well as on the number understated crackle, Nir Naaman’s bittersweet alto “Curacao”—not to overlook his work on the saxophone, Jay Rattman’s velvety bass clarinet and aforementioned “Wouldn’t It Be Loverly?”. Howard Bria Skonberg’s sleek, yearning trumpet. “Scaling” is a contributes throughout with his production of rich dandy bit of old-school bebop, with a melodic line bottom tones and shines on tracks such as “Half and Live at Kitano mixing perky with quirky in Monk-like fashion. Half” and “God Bless The Child”. Janice Friedman Trio (CAP) There’s a sizzling alto solo from Sharel Cassity and a by Marcia Hillman If you take a tip from the applause and whoops of deceptively mellow one from guitarist Alex Wintz the responsive audience, you will agree that this was a that’s crisp and slightly blues-tinged. Cassity is back On Jul. 20th, 2011, the Janice Friedman Trio (pianist delightful concert, well-paced, with something with “La Tristeza” and her blues-laced solo aches like a Friedman, bassist Ed Howard and drummer Victor happening on every track. fresh-as-yesterday heartache. Lewis) played two sets at NYC’s Jazz at Kitano. The The ironically-titled “Pyrotechnics” features a result is Friedman’s first live recording and her fifth as For more information, visit jazzbeat.com. Friedman is at cyclically repetitive introduction before Skonberg’s a leader. The material is a combination of familiar Smalls Mar. 9th and Jazz at Kitano Mar. 18th. See Calendar.

"Her interpretations are incredibly personal, w turning a tune as widely known as “My favourite things” into something suave, alien, and absolutely stunning." François Couture

"Chloé Lévy, a whispering presence, steeped in sensuality and audacity." Luca Sabbatini

"Lovers of exceptional singers like Susanne Abbuehl, Sidsel Endresen and Claudia Solal will be delighted by Chloé Lévy." Citizen Jazz

CHLOE LEVY

DUST

new solo album UNIT RECORDS 4542 www.chloelevy.com

18.03.2015 // Seeds - Brooklyn 22.03.2015 // Bowery arts & Science 27.03.2015 // Firehouse Space with Ben Monder

"She weaves dreamy and yet powerful sacred with sensuality. " Jazz 'n' More © picture: Laure Gilquin

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 19

New York Standards Quartet isn’t exactly a novelty. Still, what the band (formed in 2006) does with the repertoire of classic jazz songs, as well as pop and show tunes that have become part of the established canon known to every jazz musician, sets it apart from the crowd and makes for interesting listening. Rather than simply playing familiar songs in familiar ways, the group offers what saxophonist Tim Armacost calls “twisted” arrangements of them,

KÖLN tweaking the harmonies and tempos and using the Marshall Gilkes/WDR Big Band (Alternate Side) core of each tune as a springboard for inventive by George Kanzler improvisation. As the title of their latest release, The New Straight Ahead, implies, the group does this within Forget all the clichés about Teutonic rigidity. The WDR a mostly mainstream context, stretching well-known Big Band sounds lithe, flexible, even airy playing the tunes without breaking them, taking them in new often captivating, sometimes whimsical compositions directions while remaining true to their original intent. and arrangements of trombonist Marshall Gilkes, a A few of the standards covered here, like Charlie member of the orchestra from 2010-13. We have no Parker’s “Ah-leu-cha” and Monk’s “Misterioso”, are exact analogue for this quasi-official German national given fairly standard, if extremely well played, jazz orchestra here, with its own studio and dozens of arrangements. Most, however, are more radically ALBERT “TOOTIE” HEATH recordings, many featuring big-name guests. Probably reinterpreted. “Autumn Leaves”, for example, usually the Orchestra comes closest, but performed as a sweet ballad, gets a heavy soul-jazz ETHAN IVERSON the WDR Big Band can be a lot more chameleon-like in treatment here, propelled by Daiki Yasukagawa’s its complete acclimation to a wide variety of styles. funky bass and Gene Jackson’s hard-hitting drums. BEN STREET Gilkes’ style is deceptively complex, built in Also nearly unrecognizable is “It Don’t Mean a Thing multi-faceted layers from simple foundations, melodic (If It Ain’t Got That Swing)”, which opens with a or harmonic kernels often adapted from tunes soaring soprano sax solo from Armacost before the rest Philadelphia BEAT originally composed for his small group recordings. of the band kicks in for a unique and surprising romp SSC 1403 - IN STORES 3/3/2015 Here he builds polyphony and counterpoint with a through the Ellington warhorse. Superb pianist David panoply of voicings, utilizing brass, reeds and Berkman offers a gorgeous Bill Evans-like intro to ast September, Albert “Tootie” Heath took his woodwinds in novel combinations. He tips his hand “When You Wish Upon A Star” while he and Armacost with the opening track and only non-original, the are heard in tandem on the brief, dreamy opening and Lstudents Ethan Iverson and Ben Street back to standard “My Shining Hour”. Winds-brass voicings of closing takes of “Polka Dots and Moonbeams”. his hometown Philadelphia for a gig, a hang with splayed melody over rushing drum brushes present Another recent release by the band, Live at the the theme in deconstructed fragments before Gilkes’ Liftetime, recorded live in Japan in 2012, covers similar old friends, and this record date of music associat- trombone takes over to state it at a gallop, flowing into ground and offers equally imaginative redesigns of ed with his long career. A lavish booklet includes an improvisation interacting with crisp, breezy oft-heard fare. Armacost’s powerful tenor and ensemble passages in shifting tempos and melody Berkman’s sparkling piano take the opener, Coleman new and vintage photos plus commentary by segments. Moaning trombones and a rubato shout Hawkins’ “Sweet and Lovely”, into uncharted territory Iverson and Hyland Harris. offer a touch of whimsy before Gilkes’ trombone takes while Armacost excels on the lovely ballad “For it out over shadowy chords. Much like Duke Ellington, Heaven’s Sake”. The rest of the album turns to Gilkes elaborates on the blues form in “Plant Bassed”, compositions by jazz giants of somewhat more recent a feature for bassist John Goldsby over blues choruses vintage, with commanding readings of John Coltrane’s with a Latin bridge, opening the piece up for a fiery “Giant Steps”, Wayne Shorter’s “Nefertiti” and a trumpet solo from Michael Rodriguez. bluesy, crowd-pleasing take on ’s “The VILLAGE Other pieces eschew familiar big band templates, Turnaround”. The closer, “Hidden Fondness”, is a Appearing at March 3 - 8 especially the pair of two-part works rooted in brass rarity for the group, an original by Berkman, which chorales: “Edenderry” and “End in Sight”. The former sounds as if it’s built on, you guessed it, a standard, in begins with an actual four-plus-minute brass chorale, this case the old Doris Day tune “Once I Had a Secret which expands into a concerto for Gilkes’ masterfully Love”. But, as usual with this creative ensemble, what sustained trombone solo; the latter finds the ensemble starts out as something familiar ends up as a unique elaborating on a short chorale with syncopated and exhilarating musical statement. rhythms to usher in alto and tenor sax solos over clever, sprightly riffs and shouts. Every original is For more information, visit whirlwindrecordings.com and distinctive, from a “Vespers” that begins as advertised d-musica.co.jp. This group is at Smoke Mar. 1st. See only to morph into a Chuck Mangione-like rhythmic Calendar. romp to the concluding “Downtime”, clarinet and flute dropping like snowflakes on a walking bassline to introduce a final Gilkes trombone feature. Michel Reis Quartet Capturing This Moment For more information, visit alternatesiderecords.com. Gilkes is at Jazz Standard through Mar. 1st with and 92nd Street Y Mar. 14th as part of Latin on Lex. See Calendar.

Album Release Concert Tuesday, March 10th Cornelia Street Cafe 8:30pm $10 / $10 min. with Michel Reis-piano Aaron Kruziki-reeds Eddy Khaimovich-bass The New Straight Ahead Jonas Burgwinkel-drums The New York Standards Quartet (Whirlwind) What consistently comes to mind Live at Lifetime is how breathable this album is. New York Standards Quartet (D-Musica) —Downbeat Magazine, March issue 2015 michelreis.com bit.ly/166UD9d by Joel Roberts Double Moon Records / Challenge Records Int. doublemoon.de www.sunnysiderecords.com Lots of musicians play standards, so the mission of the Distributed in the US by Allegro Music challengerecords.com

20 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD

fingered player would be a much better partner for a “Zikkaron/Kristallnacht”, in both instrumental drummer like Heath. and spoken word versions, is a striking portrait. An The tunes are almost all standards, both known opening sample from Nazi propaganda minister Joseph (“Bags’ Groove”, “Speak Low”, “Bye-Ya”, “Memories Goebbels is followed by crashing glass. This is starkly of You”, “”) and more obscure (“Everything contrasted with poignant remembrances from Ruth Must Change”). The trio also tackles “Bakai”, which Rack, who experienced the “Night of Broken Glass” Heath first recorded on John Coltrane’s 1957 debut first hand as a 10-year-old. Her presentation is superb album. The two candidates for most unexpected piece, as she begins with a detached recitation that captures though, are a version of the Gloria Gaynor disco hit “I naïve disbelief and concludes with chilling certainty.

Blue Shift Will Survive” and an interpretation of the Bach chorale This Mosaica has several tiles that will hopefully be Rex Richardson/Steve Wilson (Summit) “Wachet Auf, Ruft Uns Die Stimme”. built upon through further exploration and expansion. by Ken Dryden The mix is constructed so that the drums are the dominant instrument, not because Heath is doing For more information, visit eugenemarlow.com. This group Rex Richardson is a versatile trumpeter equally at anything showboaty (he hasn’t suddenly become Billy is at Somethin’ Jazz Club Mar. 4th. See Calendar. home in jazz, crossover and classical music while also Cobham), but it’s his show. And while there are a few one of the few to use the piccolo trumpet in jazz, an moments where he shows his age—the otherwise rock- instrument that had been, until recent years, fairly steady beat suffers a noticeable lurch about 25 seconds UNEARTHED GEM obscure since the heyday of Baroque music. He has into “I Will Survive”—for the most part, he’s dead on performed or recorded with , Ray Charles, and hitting hard. His kick drum positively booms, , , , Stefon giving impact to the Bach chorale’s intro that Harris, Wycliffe Gordon and many others. Blue Shift, counterbalances the trilling melody. Easily one of the co-led by veteran alto saxophonist Steve Wilson and highlights of the disc is the version of Yusef Lateef’s rounded out by a top-shelf rhythm section of guitarist “Pentatonic Etude”, on which Iverson switches to Trey Pollard, bassist Randall Pharr and drummer Brian electric piano, Street picks up a bow and Heath limits Jones, recognizes no musical boundaries, drawing himself to toms and cymbals; it has an ominous power from various jazz styles. not unlike the introduction to Led Zeppelin’s “No The band covers seven originals, with each Quarter”. It also serves as a perfect intro to the closing member contributing at least one composition. The track, the aforementioned hard-swinging version of first song, Pollard’s “Tell, Tell Me Again”, gives the “Bakai” on which rolling beat and clicking sticks grant Hamburg ‘72 Keith Jarrett// (ECM) impression that it is heading into early ‘60s avant garde a furious momentum to looping piano improvisations. by Terrell Holmes territory, then shifts to a mellow ballad setting, Ultimately, this trio’s weird, lurching approach connected by brief vamps between choruses reflecting recalls , the famous Ellington/Mingus/ This live set by pianist Keith Jarrett, bassist Charlie a more free sound. The trumpeter’s energetic “Red Roach summit conference, more than it does your Haden and drummer Paul Motian is an enlightening Shift” is a sizzling fusion vehicle featuring his frenetic average tinkly cocktail-hour piano trio disc. And the backward glance at musical foundations being laid horn and boisterous saxophone, with distorted guitar mix of expected and unexpected song choices keeps and reputations being built. The concert, part of the creating the vibe. Jones’ subdued, lyrical ballad the listener’s interest level high throughout. first European tour put together by ECM (the label “Cyclical” provides a breather from the tension, with with which Jarrett had recently signed), captures the magical interplay between rich flugelhorn and For more information, visit sunnysiderecords.com. This 27-year-old Jarrett at a comparatively early stage in saxophone. “Seeing Star (Blue Shift)” recalls some of group is at Village Vanguard Mar. 3rd-8th. See Calendar. his career, a portrait of the artist as a young multi- the edgy compositions of Eric Dolphy in the early ‘60s, instrumentalist. with inspired exchanges between the two leaders. The opener, “Rainbow”, is an augur of the shape Wilson’s “The Benevolent One” has a wistful air, with of jazz to come. Jarrett’s intro shows a fully formed the alto saxophonist as the lead voice and Richardson lyricism and harmonic mastery that would define adding harmony on flugelhorn. “Big Sur” is the catch- his later solo piano work (perhaps to the dismay of all piece of the session, written by Jones. It blends a some, his moaning and ululating is also fully Latin rhythm with a hip urban groove and Pollard’s formed). As Haden and Motian fall in behind Jarrett as-hip guitar solo. Richardson conveys the adventurous on this beautiful waltz one can hear interplay similar spirit and forward thinking of in their to the later Jarrett/Peacock/ DeJohnette trio. interpretation of the late trumpeter’s “Tomorrow’s Steady pizzicato and percussion underpin Destiny”. Finally, Pharr’s moody “Blues For David Jarrett’s spirited and strident flute playing on Mosaica Henry” features Pollard and the composer, along with “Everything That Lives Laments”. There might have Eugene Marlow’s Heritage Ensemble (MEII Ent.) marvelous interplay by the leaders. by Elliott Simon been better flute players but there were none more confident and enthusiastic. He exhibits a similar For more information, visit summitrecords.com. Wilson is at Pianist Eugene Marlow approaches differing Jewish ferocity on soprano saxophone for “Piece for Smoke Mar. 1st with New York Standards Quartet. See Calendar. musical genres, jazz, Latin and various world musics Ornette”, a nod to Haden’s former boss. He’s not an to construct his own unique Mosaica. His band, known undisciplined saxophonist; he has impressive range

as the Heritage Ensemble, includes heavy Latin jazz and dexterity on the instrument, playing with a underpinnings courtesy of drummer/percussionists growling, avian polytonality on an intense piece Bobby Sanabria and Matthew Gonzalez. They turn the where he invokes John Coltrane as much as Coleman. hackneyed “Hava Nagila” into a pleasantly surprising “Take Me Back” and the cautiously optimistic set opener. Marlow’s mournful piano intro evolves “Life, Dance” are vigorous straightahead workouts into a new hook and an extended AfroLatin percussion that lead to the album’s showcase, Haden’s rarely break before saxophonist Michael Hashim takes the played “Song for Che”. He sets the tone with tune to its more familiar environs. flamenco-style plucking; Jarrett, back on soprano, Melodies drawn from the Jewish liturgy and picks up on the idea and adds a few bars of “Spain” holiday celebrations share space with more recent to his solo. Jarrett’s elephantine screeching inspires Philadelphia Beat Israeli-informed pieces and powerful Holocaust- Motian to add African-inspired percussive cues. Albert “Tootie” Heath Trio (Sunnyside) by Phil Freeman related material. The drawback to this mosaic approach Haden ups the ante by playing arco, Jarrett hops is that not all of these pieces easily fit together. This is back on the piano and floods the keyboard with Philadelphia Beat is the second studio album, and third compounded by vocalist Shira Lissek, whose offerings dense, flowing chords and Motian returns to the release overall, by the trio of pianist Ethan Iverson (of are a bit out of place in this setting. That said, the , completely changing the song’s texture, ), bassist Ben Street and drummer Albert ensemble’s modern jazz take on the usually haunting feeling and landscape. Jarrett’s interjections and “Tootie” Heath. Though it was the pianist’s idea to “Ani Ma’amin” shows how the formula can work and shouts here are understandable, as he clearly can’t assemble the group, the younger men defer to the plays to the band’s rhythmic and percussive strengths. contain his joy at the amazing music being made. drummer all the way. Indeed, Street is so subservient Juxtaposing two aspects of the Passover Seder on the he’s barely there while Iverson, carrying all the melodic all-too-short “Mah Nishtanah Halaylah Haze” serves For more information, visit ecmrecords.com. Jarrett plays weight, is fine, if you like his somewhat crude style— as a lovely forum for Marlow’s emotive touch and solo at Stern Auditorium Mar. 3rd. See Calendar. he’s a boxer who telegraphs every swing. A more light- elegant interpretive skills.

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 21

East by Northwest Nate Wooley/Ken Vandermark (Pleasure of the Text-Audiographic) Orphic Machine In The Abstract Ben Goldberg (Royal Potato Family/BAG) Side A (Not Two) by Fred Bouchard by John Sharpe Clarinetist Ben Goldberg’s intimate chamber pieces Chicago-based reedplayer Ken Vandermark should be here serve as settings for philosophically didactic as lauded for his flow of inventive composition as his poems from Allen Grossman’s Summa Lyrica. Classic uncompromising improvising. Busy as ever, he also structures enshroud, primarily on four lengthy tracks, contributes charts to co-operative endeavors with a gently rambling, echoing poems sung with disarming varied and ever-increasing list of collaborators. intimacy by Carla Kihlstedt’s breathy, eggshell-fragile Inspired by a shared love for the works of late voice, each eventually accumulating gale force. clarinetist John Carter and cornet player Bobby “Reading” first bares to us the poet’s reasoned, if Bradford, Vandermark pairs with trumpeter Nate claustrophobic, world: taut, snappy chorales frame Wooley on East by Northwest, a set of seven originals Kihlstedt, overcoming hesitancy in cumulative and two covers, one by each of the seminal twosome. strophes in a world-weary voice; after a spot for Greg Wooley possesses an astonishing tonal range matched Cohen’s leisurely blue bass, a forwardly gyrating by imagination, which brings out the best in ensemble sets up Myra Melford’s piano excursion and Vandermark, who delves deep into the further extremes Ron Miles’ lucid trumpet. Three more cautious, stately of his technique. Opening with Carter’s “And She chamber sketches—“Immortality”, “Care”, the title Speaks”, the duo establish the parameters for their piece—evolve into folksy-bluesy jam-outs for Nels project as time and again the elegant strains of the tune Cline’s snarly guitar: at the climax of “Care”, he blossom into squalling exchanges. It’s a high-octane overtakes Kihlstedt’s poised declaration of her death duet in terms of jostling interplay rather than energy as a dance, then subsides in a poised chorale; on the levels. Each supplies novel textures against which the epic title track, with crystal piano meditations and other can react or propose his own lines. Vandermark orotund clarinet, his cannonades overwhelm all in the has never been afraid to dwell on repeated motifs even Furies’ screeching hellfire. in free settings and it shows here on Bradford’s “Song More modest in scope are “Line Of Less Than Ten”, For The Unsung”, the standout cut, where Vandermark’s where Miles echoes Kihlstedt over jaunty rhythm with baritone saxophone vamp serves as the substructure piano rising into tart mariachi-like brass figures over an for Wooley’s airy blues-inflected dance. Elsewhere, exquisite fade of shimmering electronics and marimba, Wooley goes through a dizzying array of expression, and “The Present”, dissonant pizzicato bass and violin from mutters, breaths and buzzes that expand into yielding to Kenny Wollesen’s vibraphone and chimes voice-augmented shrieks (heard to great effect on “Call scraping against detuned guitar. If some texts strike The Numbers”) to the gibbering vocal exclamations one as imponderable gibberish, no matter: Kihlstedt featured on the intro to “Direct Cut”. delivers them, sweet and stately, over Goldberg’s Vandermark reunites with pianist Håvard Wiik consonant, precision charts, abrim with tasty solo and drummer Chad Taylor to form Side A, a similarly passages. Nor is it all about setting texts: Goldberg collective venture. In The Abstract represents their daubs taut instrumental interludes that recall punchy sophomore outing and, like the first, everyone chips in Modern Jazz Quartet Third-Stream: “What Was That” to the program. On clarinet as well as baritone and “Bongoloid Lens” showcase the leader’s quizzical saxophone, Vandermark keeps the jazz influence to the clarinet, Miles’ sly remarks and Ches Smith’s thumping fore while Wiik occasionally adds contemporary tubs. More enjoyable with relistening! tonalities to his structural underpinnings. Taylor primarily handles momentum, as well as timbral color, For more information, visit bengoldberg.net. Goldberg is at but does so with so much variation that a bassist is Roulette Mar. 4th with James Falzone, Korzo Mar. 24th, never missed. Inevitably, the different authors result in The Stone Mar. 25th-26th with Myra Melford and Prospect a diversity of moods, from the relatively Range Mar. 27th. See Calendar. straightforward, like Taylor’s driving “Virano”, where Vandermark spins effervescent tales on clarinet, to the more knotty, such as Wiik’s “Semiology”, which blends the cerebral with the unfettered and at times resembles ’s work in its darting figures. But they are egalitarian in execution as well as the credits. Every piece provides space for improvisation and solos, built around the charts. Taylor shines on Vandermark’s assertive opener “Cadeau”, where a polyrhythmic drum interlude amid the piping clarinet and freewheeling piano counterpoint recalls a sped-up Ed Blackwell. The concluding “4 From 5 To 6” might have sprung from the Vandermark 5 songbook as a series of interlocking thematic materials combine in a stop-time riff, sparking excitement from all involved, rounding matters off in fitting style.

For more information, visit audiographicrecords.com and nottwo.com. Vandermark is at Roulette Mar. 4th with James Falzone. Wooley is at Roulette Mar. 5th, The Stone Mar. 13th with Mephisto and Delroy’s Cafe and Wine Bar Mar. 30th. See Calendar.

22 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD from Derek Bailey’s guitar and command the same linear directness. Although only one of the players on these CDs, intakt RecoRds Jackson demonstrates that his connective qualities are valuable in contradictory contexts. Both bands and sessions are notable, but there’s a vastly different audience and little crossover for each. Afterimage For more information, visit driffrecords.com and Pandelis Karayorgis Quintet (Driff) Live in Toledo veto-records.ch. Keefe Jackson is at Roulette Mar. 4th with The Urge Trio (Veto-Records) James Falzone. See Calendar. by Ken Waxman WILLIAM PARKER Saxophonist/clarinetist Keefe Jackson, Fayetteville, To Roy Arkansas’ gift to improvised music, is gradually Oliver Lake: Saxophone expanding from his new base of Chicago, where he William Parker: Bass leads several ensembles. Both Live in Toledo and Intakt CD 243 Afterimage offer unique displays of his talent. Skewed chamber-jazz, the former calculates how many varied tones can be sourced from the dual tenor saxophones and bass clarinets of Jackson and Christoph Erb, with Tomeka Reid’s cello the single chordal instrument. The Purge Also recorded live, but a more formal date, Afterimage DRKWAV (Royal Potato Family) SCHLIPPENBACH features four Windy Cityers—reedplayers Jackson and by Brad Cohan , bassist Nate McBride and drummer TRIO Frank Rosaly—playing the compositions and Not to be confused with the subgenre Features arrangements of Boston pianist Pandelis Karayorgis. darkwave, the movement that spawned goth-rock, Alexander von With the caveat that today’s musical world is very among a glut of spinoffs, this particular DRKWAV Schlippenbach: Piano different, Afterimage could be Karayorgis’ Monk’s happens to be a Herculean trio comprised of Evan Parker: Saxophones Music. That doesn’t mean that the Athens, Greece-born saxophonist , keyboardist John Medeski and Paul Lovens: Drums pianist imitates the 1957 classic; instead the drummer Adam Deitch, whose über-dark and groove- Intakt CD 250 distinctively angular tunes bring out bandmembers’ galvanizing aesthetics are fitting of its moniker. As talents as unequivocally as Monk’s compositions did veterans and titans entrenched in the underground for his crew. It’s the arrangements that stand out since jazz, rock and hip-hop scenes, it’s no wonder this each is given a specific role, which lock together threesome would dig deep into its cache of musical architecturally or contrast with the others’ work. sensibilities and create genre-defying, jam-intensive “Haunt”, for instance, is defined by McBride’s euphoria. thumping bass intro, which leads into a comprehensive By incorporating the densely stylistic amalgam of MARK HELIAS melody via off-side runs from Karayorgis. Later, its members’ many visages—jazz-rock of -based OPEN LOOSE staccato peeps from Jackson and Rempis reflect rather Skerik’s Syncopated Taint Septet and Critters Buggin’; The Signal Maker than shred the positioned swing. “Velocipede” is built unclassifiable sonic explorations of Medeski, Martin & from low-key slurps and irregular altissimo squeaks Wood (MMW); and mind-bending electronic and rap Mark Helias: Bass : Saxophone from both hornplayers, with piano key tolling speeding leanings of Deitch—DRKWAV, a project three years in Tom Rainey: Drums to such an extent that the piece almost reaches “Salt the making and the result of a Kickstarter campaign, Intakt CD 245 Peanuts”-like velocity. “Obsession” is more complex finally debuts with The Purge, an ecstatic trip into acid and edges towards abstraction as the saxophonists jazz, hard funk and psychedelic rock territory sure to ready themselves to battle. rile up jazz purists. Karayorgis’ economical keyboard strategies owe On par with MMW’s unique positing as a presence something to Monk, although his playing is seasoned in rock-tailored venues, on the “jam-band” tour circuit TRIO 3 + VIJAY IYER with reflections of ’s imperturbable and in the tony jazz club sphere, DRKWAV’s vision is Wiring lines plus echoes of Bud Powell-like strength. It’s the cut from a similar cloth but with a harder edge; this : Bass rhythmic sophistication of the title track that best protean supergroup can wield powerhouse , : Drums defines his originality. Resting on Rempis’ distinctive herky-jerky funk and electronics-obsessed grooves in Olive Lake: Saxophone baritone saxophone continuum, the melody is relaxed, one fell swoop, certainly pleasing the - Vijay Iyer: Piano but includes enough rhythmic stress to ensure motion thirsty coterie. Trio 3 live: Tue, March 24 isn’t lumpy. Karayorgis’ themes may not be as On its eight perky and strangely danceable tracks, till Sun, March 29, NYC, distinctive as Monk’s, but they’re less repetitive and DRKWAV manifests itself as a groove machine on a The Village Vanguard more controlled. With this CD he has organized the hallucinogenic binge of ghostly sounds. Contagiously Intakt CD 233 perfect band to showcase them at their best. repetitious tracks like The Thing-meets-MMW Moving from a composer’s showcase to pure thwacking funk bliss of “Count Chokulous” and improvisation, The Urge Trio disc doesn’t bother with “Scars” show Medeski and Skerik taking star turns, AKI TAKASE – anything as mainstream as theme and variations on its one serving up organ-driven splatter as the other ALEXANDER VON two-track CD. Linked by cavernous tongue slaps and dishes out gale-force blows. Meanwhile, Deitch holds SCHLIPPENBACH hippo-like snorts, Erb and Jackson still spend time the fort with metronomic fury. From its onset, The Homage to vibrating altissimo shrieks that are both aviary and Purge is a sweaty affair swarming with glitchy, Eric Dolphy canine. With these textures used to both disrupt and futuristic soundscapes radiating from Medeski’s A. Takase · A. v. Schlippen- mark place, a certain dramatic range is established on keyboards cache and Skerik’s effects-laden, bobbing bach · K. Berger · R. Mahall the extended “Upward, Behind the Onstreaming”. and weaving patterns and blasts, as Deitch, serving as T. Delius · H. Walsdorff Eventually, disconnected and juddering lines are DRKWAV’s hard-hitting general, pilots its noisy attack A. Dörner · N. Wogram wrapped into a final duet of tongue percussion from with meticulous and incessantly funky rhythms. W. de Joode · A. Borghini tenor saxophone and string-thin shrieks from bass While jazz elitists may cry foul over the bouncy, H. Bennink · H. Köbberling clarinet so that finality, if not contentment, is achieved. yet gnarled, deconstruction of an Eric Dolphy tune Intakt CD 239 The appropriately titled “Manne du Ciel” is far more (“Gazzelloni”, taken from Out To Lunch!), the successful at half the length. Experienced AACMer provocateurs in DRKWAV are uncompromising in their Intakt Records: www.intaktrec.ch Reid, who limits herself to singular strums or plucks quest for frenzied grooves swathed in caustic ambience. on the first track, becomes more animated in her Distributed by Naxos · Amazon.com · iTunes Store playing. Taking charge, her tough cross-plucking gives For more information, visit royalpotatofamily.com. This Available in NYC: Downtown Music Gallery way to harsh staccato strokes that could have come project is at Brooklyn Bowl Mar. 5th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 23

crooner who inspired bobbysoxer frenzy has evolved into America’s middle aged playboy, having a ball as he roars “pack up, let’s fly away”. That image is further accentuated on “Isle of Capri”. May’s sly musical brass punctuations inspire humorous adlibs by Sinatra: “...She wore a lovely meatball on her finger, t’was goodbye at the Villa Capri”, an allusion to a popular Los Angeles restaurant. Even more delightfully, their wizardry transforms the old chestnut “ to

Into the Zone Mandalay” into something jubilant, climaxed with Ryan Keberle & Catharsis (Greenleaf Music) totally swinging temple bells. by Tom Greenland For Sinatra and Swingin’ Brass, Neal Hefti booked five trombones, five trumpets, five saxes and four Trombonist Ryan Keberle brings strong, flexible chops rhythm for this 1962 session (sadly the players are not and an ever clearer sense of his mission to Into the Zone, identified). Returning to recording after a hiatus, his fifth release as a leader and second with Catharsis. Sinatra was gloriously in solid, big voice. His response In addition to trumpeter Mike Rodriguez, bassist Jorge in the play back and forth with the brass is easy and Roeder and drummer Eric Doob, the group is delightful. With “The Way You Look Tonight” his augmented on most tracks by vocalist Camila Meza respect for the lyrics of the Gershwin classic shows in and/or tenor saxophonist Scott Robinson. his polished delivery even as he finds a freshly upbeat Like the group’s debut, Into the Zone has a bluesy, approach to the song. His voice soars in close company soulful backbone, though the references are oblique, with the brass and, whether romantic on “Serenade in distilled through Keberle’s elegant arrangements, Blue” or as playful as he is with the Gershwin song, he which employ complex counterpoint, rigorous always convinces that he means what he is singing. intervallic development and overlapping textures, all The irresistible interplay between powerhouse brass of which create the illusion of a little big band. and singer juicing up an oldie like “Ain’t She Sweet” or “Inevitable Blues” begins as a dirge but moves into giving a taste of the Swing Era with “Tangerine” leaves bouncy swinging hardbop. “Gallop”, a brisk samba no doubt we have come to the right party. with fine scatting by Meza and tandem brass comping The third of this trio of memorable reissues on LP behind Robinson’s tenor solo, climaxes in a polyphonic is Moonlight Sinatra, a 1966 reunion of Sinatra with his blowing section. “Simple Sermon”, a slow bossa, most talented and frequent arranger, Nelson Riddle. In boasts a spare but catchy melody served by tasteful Riddle the singer found the perfect partner as they set obbligati from the horns. about establishing what was to become nothing less There are three covers: Fran Landesman’s “Ballad than an American popular song literature. Whether of the Sad Young Men”, Charlie Parker’s “Cheryl” and gently swinging or softly romantic, Riddle supported Cole Porter’s “Easy to Love”. “Cheryl” is reimagined Sinatra as an urbane sophisticate capable of exploring in Latin 6/4 with excellent individual and collective different adult approaches to love. It’s almost soloing by the three hornplayers while “Easy to Love”, impossible to imagine having a carefully crafted album a swinging off-kilter waltz, is beautifully arranged, of this sort happening today, one which includes utilizing Meza’s voice as both the lead melody and as lesser-known songs well worth preserving. Listen as the third harmony in the horn section. ”Zone”, the Sinatra caresses the word “sweet” in “Moon Song (that final track, opens with hocketing brass figures leading wasn’t meant for me)” or the opener “Moonlight to Meza’s passionate but contained vocal, a flamenco- Becomes You”, a gem by Johnny Burke-Jimmy Van esque bass solo, rapid-fire runs from Rodriguez and a Heusen, originally written for a ‘40s Bing Crosby gentle landing at the very end. movie, with a blend of strings and some delicate punctuation by flutes as Sinatra croons “...you certainly For more information, visit greenleafmusic.com. This group know the right things to wear...”. On the same team’s is at Cornelia Street Café Mar. 5th. See Calendar. “Oh, You Crazy Moon”, trumpet and trombones relentlessly stoke the pace as Sinatra builds to “you broke my heart”. A line from “Moonlight Serenade” seems to speak to what these two giants could do: “I bring you and I sing you...”

For more information, visit sinatra.com. Sinatra tributes are at Measure Mar. 9th-14th and B.B. King’s Blues Bar Come Fly With Me Mar. 23rd. See Calendar. Sinatra and Swingin’ Brass Moonlight Sinatra (Frank Sinatra Enterprises-Universal) by Andrew Vélez Frank Sinatra, who died in 1998 at 82, continues to inspire new generations of fans in 2015, the centennial of the singer’s birth, with the legacy of his music, which is substantial and solid. Known for being astute in his choice of orchestrators and conductors, these reissues show him in peak middle age form with three of the best: Billy May, Neal Hefti and Nelson Riddle. The release of Come Fly With Me in 1957 began the inspired partnership with orchestrator, big band leader, trombonist and composer Billy May, the first of a trio of successful albums together. His ability to record in a broad range of musical styles is evident as the romantically expressive and strings-laden “ By Night” is balanced with playful spontaneity on faster-paced tunes. Capitalizing on the then-popular image of Sinatra as a world-class jet setter, May’s big band sets up a swinging lead-in to Sammy Cahn- Jimmy Van Heusen’s title tune. The once soft-voiced

24 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD : A CELEBRATION of BILLIE HOLIDAY

FRIDAY, APRIL 10 at 8:00PM TICKETS AVAILABLE AT THE BOX OFFICE, TICKETMASTER CHARGE BY PHONE: 800-745-3000 OR TICKETMASTER.COM 253 WEST 125TH STREET, NEW YORK CITY, APOLLOTHEATER.ORG IN ASSOCIATION WITH

From a spark lit to Havana in by the NY the last days of fire of the 1960s the embargo... BOBBY KAPP

Bobby Kapp began as a Two months later, along with Cuban pioneer in the ‘60s Free Jazz pianist Gabriel Hernandez, Kapp movement in NYC. In the summer recorded “Cilla Sin Embargo”, of 2014 he revisited the style in days before the embargo was lifted. “Themes 4 Transmutation.” Kapp did the vocals while The musicians for the session Hernandez assembled a group were given only single concepts of Cuba’s top jazz musicians. to improvise from, leading to Dedicated to a love lost to illness, creativity without borders. it is jazz with a bi-cultural soul. With: Matt Shipp piano Tyler Mitchell bass Ras Moshe. Tenor/ Soprano Sax/ Flute available at bobbykappjazz.com

enhance and expand this LP reissue’s sonic and thematic ranges. Abercrombie’s electric polytonal get cool schooled landscape on “Late Night Passenger” complements Towner’s flamenco lyricism and gut-punch chord punctuation on the 12-string acoustic. The spare, stunning “Microthema” is as visual as a song can be, with Abercrombie and Towner’s querulous call and response evoking a long distance disagreement swing that becomes a face-to-face argument. Towner plays

Take This reflectively on “Caminata” as Abercrombie’s ascending Jacky Terrasson (Impulse) four-note figure, transposed over an airy electric guitar by Ken Micallef background, builds suspense. They handle the university challenging melody and harmonies of “The Juggler’s Pianist Jacky Terrasson has experienced a twisting Etude” with aplomb. “Bumabia” is a suite-like piece spring term career trajectory since his debut recording, 1992’s touching bluegrass and bop and these master guitarists, What’s New (Jazz aux Remparts). The following year, as they do throughout the album, make the transitions he won the Thelonious Monk International Piano seamlessly. Competition, then toured with Betty Carter and Kevin Eubanks and expand on the followed that up with ten albums on Blue Note. Never two-guitar concept on their new album Duets by restricting himself to a single style or strain of jazz, adding bass, piano and keyboards to the palette and jazz 101 Terrasson has brilliantly covered the canon and made delving into standards and contemporary tunes as well with vincent gardner strong compositional contributions, but ultimately as originals. Each man lays down his trademark sound may 5–june 23 • 8 tuesdays he’s an entertainer in the best sense of the word. on the electric/acoustic dialogue “Morning Sun”: While many jazz musicians stake their claims Eubanks’ confident, robust chords contrast wonderfully performing ultra-challenging music, Terrasson’s latest with Jordan’s deft, light-fingered touch at the midrange is a rumination on what’s possible using jazz purely as and upper register. jazz 201 a texture, with clever use of voice, electronics and “Summertime” features Eubanks overdubbed on with john wriggle percussion framing his reflections. Terrasson reworks electric bass and acoustic guitar and the stripped- mar 25–may 13 • 8 wednesdays standards and pop songs with such a singular, sensual down, endearing rawness of his sound is like listening touch that you sometimes don’t recognize a song until to a blues master on his porch strumming in the Delta Terrasson (piano, Fender Rhodes, vocals, percussion, heat. Eubanks makes room on that porch and provides human beatbox, bass) and his group of Sly a deep bass pulse beneath Jordan’s blues-steeped jazz 301 Johnson (vocals, human beatbox), Burniss Earl Travis version of “Nature Boy”, where his famous “touch” with phil schaap II (bass), Lukmil Perez Herrera (drums) and Adama technique makes it sound like a trio is playing. Jordan mar 23–may 4 • 7 mondays Diarra (percussion) are well under way. also performs his usual splendid chord gymnastics on Opener “Kiff” establishes the template, human Thad Jones’ “A Child Is Born”. beatbox sounds and an itching groove giving way to Both men are on electric guitars for the good-time lush solo piano. Bud Powell’s “Un Poco Loco” blasts improv “Old School Jam”. In contrast, “Vibes” is the james p. johnson out of the gate like lightning while “” is album’s most layered song, with Eubanks overdubbed with terry waldo sparse, spectral and beautiful. Terrasson remakes on keyboard, bass, acoustic steel and nylon-string jun 1–22 • 4 mondays “Take Five” as a barely recognizable bass and guitars. He and Jordan fill this song with beautiful percussion workout while his rendition of The Beatles’ harmony and vibrant colors, qualities that carry over “Come Together” sounds like Bobby McFerrin strolling to Eubanks’ soulful take on “Blue In Green”, with and singing on a sunny day over barrelhouse piano. Jordan on piano. bix beiderbecke Finally, Terrasson and Co. create a jazz/hip-hop Their interpretations of contemporary songs with randy sandke makeover of ’s 2011 global hit “Somebody That I involve genre reassignment. With both men on electric mar 25–apr 29 • 6 wednesdays Used to Know”, using rolling hand drums, pizzicato guitar and Eubanks laying down Sunday morning piano, odd sounds and rubbery electric bass that recalls harmony on piano, their cover of ’s “Someone nothing less than electrified Bach. Like You” has a country rock attitude. And they By approaching jazz from the soul up rather than transform Ellie Goulding’s dance tune “Lights” into a conversations the brain down Jacky Terrasson continues to carve out sensual ballad, which leads perfectly to “Goin’ On with larry ridley: a singular place in popular music. Home”, the valediction from an excellent work. For more information, visit impulse-label.com. This project For more information, visit ecmrecords.com and thelonious monk is at Dizzy’s Club Mar. 13th-15th. See Calendar. mackavenue.com. Jordan is at Birdland Mar. 17th-21st. mar 24–apr 28 • 6 tuesdays Abercrombie is at Birdland Mar. 24th-28th. See Calendar.

“It is more than just music. ornette coleman It’s an experience!” with ben young —Mike Longo, Jazz Pianist, Composer, Author, may 6–jun 10 • 6 wednesdays Former Music Director for Dizzy Gillespie

Five Years Later Ralph Towner/John Abercrombie (ECM) Duets Kevin Eubanks/Stanley Jordan (Mack Avenue) enroll today • 212-258-9922 • jazz.org/swingu by Terrell Holmes Four of the best jazz guitarists in the business appear all classes held in the education on a pair of albums that take strikingly different center 6:30pm–8:30pm (jazz 301 ends at 9:30pm) approaches to playing duets. Each player has a distinct style but creating balanced, harmonically opulent music is the organizing principle. Lead Corporate Sponsor Five Years Later, an album of originals by John Abercrombie and Ralph Towner recorded in 1981 (a Jazz at Lincoln Center gratefully acknowledges The Irene Diamond Fund for its leadership support of programming in the Irene Diamond Education Center. followup to the 1976 ECM recording Sargasso Sea), isn’t merely a guitar duet. Their profound explorations Available at CDbaby.com/artist/EugeneMarlow

26 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD Cleaver and a recent conscript in German bassist Pascal Niggenkemper. Hat And Shoes presents seven knotty Ullmann tunes in a robust three-horn arsenal (Ullmann doubles on tenor saxophone and bass clarinet while Argüelles is on baritone saxophone). The trombonist’s primary feature is “Flutist with Hat and Shoe”, which begins with a delicate, crisply unaccompanied foray, exhibiting classical ‘purity’ and control, along with a Turning Point Albert Mangelsdorff-like sense of circular-breathed Dave Burrell/ (NoBusiness) Hat And Shoes pacing. Switching to the plunger, Swell is laconic and Basement Research (Between The Lines) slushy with pizzicato and brush accompaniment, soft by Clifford Allen jitters outlined by a halting saxophone melody, echoing drawn-out blats with arrhythmic purrs. One gets a fine By the time trombonist Steve Swell began recording in view of Swell’s range, vocal effects and deft, terse 1984, the trombone in had seen an action weaving through this surreal landscape of incredibly wide range of practitioners. Being aware of woodwind commentary and clattering rhythm. “Don’t history and tradition while pushing forward is a Touch My Music” is an earlier Ullmann piece and, hallmark of improvisation in its ideal state and such a rooted in a deceptively simple, gradually fraying mindset has been a part of Swell’s music, which has thematic overlap, encourages a massive sound from brought him into contact with established veterans the quintet. Here, Argüelles is the primary improvising and young upstarts, each result being unique. voice, his mouthy baritone shimmying against guttural Turning Point is Swell with pianist Dave Burrell on bass preparations and a healthy vamp reminiscent of a program of seven of the latter’s originals, the third of the Roswell Rudd- group. Captured by his suites of music exploring the Civil War and its an extremely detailed recording, Basement Research aftermath. The pieces were performed at the Rosenbach has never sounded tougher or fuller than it does here. Library in Philadelphia, where Burrell is composer-in- residence. Like Swell, Burrell is a musician who has For more information, visit nobusinessrecords.com and often found himself at the crux of history and the betweenthelines.de. Swell is at Soup & Sound Mar. 12th and contemporary. The disc’s centerpiece is a solo piano Downtown Music Gallery solo Mar. 22nd. See Calendar. work titled “Paradox of Freedom”, which could be read both politically and improvisationally and finds Burrell in a ringing stomp, right hand telescoping upward into areas that are both densely packed and crystalline in clarity while the left hand maintains an earthy, voluminous funk. Swell’s garrulous plunger flicks limn the martial theme of “One Nation”, drawn from Burrell’s After Love (America, 1970). Teased out by singsong melody, Swell’s clarion tone is French horn-like and his phrases splay out from holding a chortling groove into brash, metallic neighs and Just One of Those Things measured huffs, egged on by Burrell’s glinting, pulsed Alan Broadbent (Edition Longplay) clusters. “Church Picnic Celebration” is a traditional by Donald Elfman camp meeting sermon, jovial and full of garrulous repartee, while “Disease Hits Contraband Camp” Alan Broadbent is perhaps jazz’ most eloquent overturns its wistful meditations with rolling rejoinders Renaissance man, a composer, arranger, sideman and and Swell’s brightly burred athleticism, sliding leader with many fine recordings to his credit. He’s a between resonant suspensions and bundled jabs. The stunningly musical pianist, fluent in the vocabulary of give and take between piano and trombone is jazz history, his playing sculpted in a classical fashion. profoundly well orchestrated and finds both musicians Listeners are directed to the performance of John able to mine a seam of creative and historical resources Lewis’ “Django” on side two of this limited edition live that few are able, toward ends both free and resolute. LP. Broadbent reveals stunning technique, vast Since 1995, German saxophonist Gebhard Ullmann diversity to the styles he incorporates and sense of has convened two separate ensembles under the name showmanship that wows the audience. He opens with Basement Research, the second of which features Swell a hymned statement of the passionate theme, dark and in addition to English reedplayer Julian lovely, and is soon bouncing along in a boppish Argüelles, New York-via-Detroit drummer Gerald improvisation, which seamlessly takes in the blues and also Bach in its range of feeling. What’s most delightful about Broadbent’s playing is the joy he takes in the art of invention. So we get playful yet fully committed romps through chestnuts of jazz and popular music: “Autumn Leaves”, almost summery in its dazzle and shine; “”, strolling into view with a strong left hand; and the title track, which can be studied for its form, understanding and verve. Broadbent tackles both and Richard Rodgers-Lorenz Hart by impressionistically blending a pair of tunes from each: “In Your Own Sweet Way/ Strange Meadowlark” by the former and “My Romance/Spring is Here” by the latter pair. And he throws a beautiful modern curve with “The Birds Will Still Be Singing” from ’s 1992 album The Juliet Letters. It’s heartbreakingly intimate, Broadbent finding both the pathos and the strength in a performance of striking sensitivity and a fitting summation of the emotional power of this entire album.

For more information, visit editionlongplay.com. Broadbent is at Saint Peter’s Mar. 18th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 27 In Concert No Fast Food (CornerStoreJazz) Cycling Samuel Blais/David Liebman (Effendi) The Miami Jazz Project Arthur Barron/Dave Liebman/Abel Pabon (ZOHO) by Robert Iannapollo Saxophonist Dave Liebman is an elder statesman in jazz and he uses that status in most generous ways. He’s a mentor to many younger players (three members of his most recent quintet, Expansions, are all under 30) and his generosity also extends to his peers, recording as a sideman with many of them. Liebman seems just as inspired by these forays as the other players. Touching on 70, he’s making some of the best music of his long and storied career. No Fast Food is the trio of drummer Phil Haynes, bassist and Liebman. Haynes and Liebman have been playing in various formations for the past ten years (particularly the superb duet record The Code) and Haynes and Gress have been a regular rhythm section since the ‘90s. It all comes together in the double-disc set In Concert. The compositions of Haynes are a varied lot but share a wide-open sensibility, ranging from the gentle 3/4 opener “Dawn on the Gladys Marrie” and “The Last Dance”, which dissolves into a section of beautiful abstraction, to the insistent staggered theme of “The Code”. There’s plenty of burning freebop as would be expected but what makes this release so worthwhile is the range of material covered. Liebman seems to relish playing with this rhythm section but these listening musicians form a trio of equals. Let’s hope there’s more to come. A younger player who studied with Liebman, Canadian saxophonist Samuel Blais (baritone and alto) recruited Liebman into augmenting his trio of bassist Morgan Moore and drummer Martin Auguste for his third release Cycling. And it’s clear from the playful phrases opening his solo on “Chli Bli” that Liebman is clearly enjoying himself. There’s a lot to savor here, such as the contrast between Liebman’s soprano and Blais’ baritone, a rarely used voicing, and a virtuosic bass solo on Liebman’s “Return To Napanoch”. Liebman contributes three tunes to the set including the wistful title piece. Liebman’s “The Crusher” (previously recorded in the ‘90s with guitarist Mick Goodrick) is a tricky head that receives an exemplary reading and is also notable for Auguste holding things together through the complexity. Cycling is a great set and already sounds like a working group. Saxophonist Arthur Barron studied with Liebman in the ‘70s and has had a productive career. The Miami Jazz Project starts out with a strong version of Coltrane’s “Dahomey Dance”, cooking nicely on a dense bed of percussion. But the tenor of the album changes and it veers off in a decidedly fusion direction: “Lordy Lourdes”, co-written by Barron and keyboardist Abel Pabon, has a funky backbeat, wah-wah piano and flute and it percolates nicely but “Jinnistan” is marred by unsubtle, crashing synth flourishes and an attractive Liebman ballad, “Winter Day”, is upended by an overlay of synth ‘strings’. Coltrane makes another appearance on “Mr. Q”, more than a little redolent of the master’s “Equinox”, but, to be fair, it is dedicated to Coltrane. Sadly, the bulk of this album falls prey to fusion excesses and is the least satisfying of the three discs under consideration.

For more information, visit cornerstorejazz.com, effendirecords.com and zohomusic.com. Dave Liebman is at Dizzy’s Club Mar. 23rd with Manhattan School of Music Jazz Orchestra. See Calendar.

28 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD EBRATIN EL G C YEARS 0

albums of his own, going back at least to 1995’s Secrets (Audioquest). But Calderazzo’s finest achievement to date may be this new trio recording. Bassist Orlando Le Fleming and drummer Adam Cruz create a kinetic, indeterminate harmonic and rhythmic environment. Calderazzo responds with sustained inspiration. He sounds deeply reflective yet centered. Whatever the tempo, he never hurries. He plays like someone immersed in musical autobiography, encountering and

Bird Calls contemplating pivotal moments from the arc of his Rudresh Mahanthappa (ACT Music) experience. by Russ Musto On this journey he uses new originals like the 12-tone “Manifold” and older ones like “Legend”, a Alto saxophonist Rudresh Mahanthappa is an mystery introduced darkly by Cruz. There are also innovative modernist steeped in both the jazz tradition reharmonized standards like “Why Me”, based on “All and the music of his Asian Indian heritage. Bird Calls is of Me”, and fresh, personal engagements with the JOEY CALDERAZZO an extension of his previous work melding elements of Great American Songbook. The rapt atmosphere of this jazz and contemporary pop, funk and hip-hop with album is so integrated that diverse pieces flow into one GOING HOME Indian folk and classical forms. Mahanthappa employs another like a suite. Even when joins SSC 1406 - IN STORES 3/31/2015 the pioneering music of Charlie Parker as the focal for one tune, the fervent ballad “I Never Knew”, his with point for his compositional explorations. An inspired new instrumental voice intensifies rather than breaks ORLANDO Le FLEMING bass program of 13 original songs—eight based on specific the spell. ADAM CRUZ drums Parker compositions and five others, shorter pieces “Stars Fell on Alabama” stays faithful to the song’s titled “Bird Call # 1- 5”—is played by a fiery quintet of joyfulness, even as Calderazzo and Le Fleming alderazzo views his new recording Going Home trumpeter Adam O’Farrill, pianist Matt Mitchell, fragment and reconfigure its form. Since 1961, it has as a snapshot of a work in progress, an exper- bassist François Moutin and drummer Rudy Royston. been a risky business for a piano trio to undertake “My C Opening “Bird Calls # 1” begins with raga-like Foolish Heart”, because Bill Evans at the Village iment that continues to progress and wield an bowed bass, rubato piano and sprawling drums over Vanguard left no room for improvement. Calderazzo abundance of intriguing results. which Mahanthappa plays an earthy fanfare in a broad finds his own way into its emotion. Instead of Evans‘ reedy tonality hearkening to the nagaswaram. infinite connotation, Calderazzo is firm, specific and Appearing at Dizzy’s Club Coca Cola O’Farrill’s clarion trumpet phrases recall Don Cherry accepting. The title track takes acceptance deeper, before coalescing in a fading calm, contrasting closing the album with the resonant finality of finding on March 24 (7:30pm) dramatically with the horns’ frenetic freebopping home at last. phraseology that begins “On The DL”, an episodic restructuring of “Donna Lee”. Alto and trumpet duet For more information, visit sunnysiderecords.com. This with fugue-like fluidity on “Bird Calls # 2”, before project is at Dizzy’s Club Mar. 24th. See Calendar. segueing into “Chillin’”, a lyrical outing springing from Parker’s “Relaxin’ At Camarillo”, featuring explosive horn exchanges and a fabulous bass interlude. “Bird Calls #3” is a multi-hued solo saxophone prelude to “Talin Is Thinking”, an engaging march launched from the chord changes of “Parker’s Mood”, which is followed by the rhythmic tour de force “Both Hands” (based on “Dexterity”) propelled by Royston’s dynamic drumming. Moutin’s unaccompanied bass is spotlighted on “Bird Calls # 4”, a stirring introduction to “Gopuram”, an Eastern-tinged take on “Steeplechase”. Similarly inventive (and cleverly titled) originals stemming from the Parker songbook—“Maybe Later” (based on JOANNA WALLFISH “Now’s The Time”), “Sure Why Not” (based on March 3 “Confirmation” and “Barbados”) and “Man, Thanks Lenore Raphael with DAN TEPFER For Coming” (based on “Anthropology”)—fill out this disc, which pays tribute to one the greatest innovators March 10 THE ORIGIN OF of jazz history while confirming Mahanthappa as an Mike Longo Trio presents ADJUSTABLE important voice for the music’s future. the music of Diz and Miles THINGS For more information, visit actmusic.com. This project is at March 17 SSC 1405 - IN STORES 3/3/2015 Jazz Standard Mar. 24th. See Calendar. Russ Kassoff Orchestra he Origin of Adjustable Things, is a stark with Catherine Dupuis Tand expressive duo album with rising piano March 24 master Dan Tepfer. In the mysterious poetry of Jay D’Amico Group her lyrics, the freshness of her harmonic choic- March 31 es and the expansiveness of her sonic palette, Corina Bartra Wallfisch sets a high bar as she and Tepfer Peruvian Jazz Ensemble explore a musical universe of their own making.

Appearing at Going Home New York Baha’i Center SubCulture Joey Calderazzo (Sunnyside) 53 E. 11th Street on March 24 (8pm) by Thomas Conrad (between University Place and Broadway) Joey Calderazzo has been the piano player for two of Shows: 8:00 & 9:30 PM the major saxophonists of our time. Since 1987, in the Gen Adm: $15 Students $10 concerts and recordings of the late Michael Brecker 212-222-5159 iTunes.com/JoannaWallfisch iTunes.com/JoeyCalderazzo and Branford Marsalis, Calderazzo’s features have bahainyc.org/nyc-bahai-center/jazz-night www.sunnysiderecords.com stood out as highlights. He has also made strong

30 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD

suspended between air and abrasion. Each member of the group is alive to sonic suggestion, exploring the possibilities with special empathy, as in the blend of bowed cello and multiphonic tenor on the elegiac “José”. Hoffman is as adept at pizzicato as he is with a bow while his guitar-like plucking on “Folkus” adds another dimension to the piece. While many of the tracks have the concentrated feel of études, the relatively extended 13-minute

Niño/Brujo “Lateral Thinking (for Edward de )” moves from Juan Pablo Carletti/Tony Malaby/ segment to segment with relative freedom, Carletti Christopher Hoffman (NoBusiness) employing glockenspiel and melodica in a series of by Stuart Broomer encounters and dialogues that retain the precision and knotting attention developed on the shorter pieces Argentine percussionist and composer Juan Pablo while giving Malaby more expansive ground to explore. Carletti has been working in New York since 2006, playing in numerous combinations, including For more information, visit nobusinessrecords.com. This saxophonist Rob Brown’s quartet and in duo with project is at Korzo Mar. 24th. See Calendar. cellist Daniel Levin. Niño/Brujo (Child/Warlock), a limited edition LP, is both the debut of Carletti as bandleader of a trio with saxophonist Tony Malaby and cellist Christopher Hoffman and Carletti’s first sustained statement as a composer. It’s an auspicious launch on both counts, not only because of Carletti’s photo by frank stewart strong identity as a writer, but because the band’s approach is a singular extension of his composing. Carletti’s pieces are both strongly melodic and near minimalist, their short figures repeated and paquito incrementally varied, with his spare drumming d’rivera Viper’s Drag functioning almost as counter-melody to Malaby’s Henry Butler-Steven Bernstein and the Hot 9 (Impulse) leads. The saxophonist generally curtails his more by Mark Keresman exploratory impulses, applying himself to Carletti’s salute to betty carter kernel melodies and their gradual development on At first, this collaboration of - pieces like “Miranda” and Western-tinged “El Brujo”. charged pianist Henry Butler and NYC Downtowner mar 6–7 • 7pm, 9:30pm On “Ballerina” and “Orange” he creates passages of trumpeter Steven Bernstein may seem odd. But With Charenee Wade, Alvester Garnett, sustained multiphonics, developing a tenuous beauty Bernstein helms the Millennial Territory Orchestra, an Jacky Terrasson, and more outfit devoted to the danceable music of big bands from the years preceding the Swing Era, and Butler is a modern player, neither throwback nor limited by an paquito d’rivera: Academy Records idealized past. With a little big band in tow, Butler and around the americas Bernstein survey the music of pianists Jelly Roll Morton and Fats Waller, tunes from a time when the jazz was a mar 27–28 • 8pm & CDs variety of pop music, with some slight detours into the GRAMMY® Award winner Paquito D’Rivera N’awlins rhythm & blues tradition and a couple of explores jazz and the music of South America originals. The band is skimmed from the cream of the city’s cutting-edge jazz scene, including (saxophone), Charlie Burnham (violin), celebrating lady day Cash for new and used Doug Wieselman (clarinet) and Bernstein’s former billie holiday festival • apr 10–11 • 8pm compact discs,vinyl Lounge Lizards mates trombonist Curtis Fowlkes and saxophonist Michael Blake. Butler sings on three tracks. Vocalists Andy Bey, Molly Johnson, and records, blu-rays and The opening title track is given a surging, slightly Sarah Elizabeth Charles with music director thorny introduction before the loping, sardonic, and pianist Peter Martin, drummer Ulysses dvds. slightly ominous theme comes to the fore. Butler Owens, bassist , and evokes the joie de vivre of Waller while playing with saxophonist Melissa Aldana thoroughly modern drive, the group’s playing taut and swinging. “Buddy Bolden’s Blues” features a hearty, We buy and sell all slightly suave vocal from Butler, the sparse bluesy celebrating joe temperley: notes dripping from his fingers like honey, the band genres of music. braying joyously behind him. Then there’s the gleeful, from duke to the jlco All sizes of collections nearly manic “Henry’s Boogie” (a Butler original) in apr 16–18 • 8pm which he struts his stuff in the manner of the old- Jazz at Lincoln Center Orchestra with welcome. school boogie woogie pianists. The most ambitious piece here is “King Porter Stomp”. While it swings Wynton Marsalis from start to finish, it’s constructed like a suite: beginning with the elegance of a New Orleans funeral For large collections, march, then bebop-flavored dashing swing and & taj mahal -ish strut until all these tangents come celebrate muddy waters please call to set up an together over Herlin Riley’s thundering drums. The appointment. closer is “Some Iko”, a variation of the chestnut “Iko apr 24–25 • 8pm Iko”, featuring a rollicking Butler vocal. John Scofield and Taj Mahal honor Muddy While Butler and Bernstein capture and project the Waters’ centennial essence of New Orleans jazz and proto-swing, there Open 7 days a week 11-7 are no overt attempts to recreate those forms and no jazz at lincoln center ironic attempts to burlesque them either. Simply put, Venue Frederick P. Rose Hall this album is a good time waiting to happen. Box Office Broadway at 60th 12 W. 18th Street NY, NY 10011 CenterCharge 212-721-6500 Lead Corporate Supporter 212-242-3000 For more information, visit impulse-label.com. Bernstein is at of Salute to Betty Carter jazz.org Symphony Space Leonard Nimoy Thalia Mar. 27th. See Calendar.

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 31

McLean, drummer Amir Ziv and, on three tracks, pianist Adam Holzman. The recordings were made back in 2009 when Coleman met the younger musicians after seeing the play Fela! on Broadway (McLean was Associate Music Director and played in the pit band). How these recordings were allowed to sit on the shelf (or on the hard-drive) for five years is a mystery but at the same time it doesn’t matter. Nothing I might say Remembrance about the record matters because the simple fact of the Elvin Jones Jazz Machine (MPS-Kultur Spiegel) Ju Ju Swing Makes You Happy! matter is there is a new Ornette Coleman record. Let Wayne Shorter (Blue Note) George Gee Swing Orchestra (Rondette Jazz) me repeat: there is a new Ornette Coleman record. by Anders Griffen by Marcia Hillman There is a fresh chance to hear that pinched alto, that thin and persistent cry, that sax that almost sounds like These are two recent reissues featuring Elvin Jones: There has to be a reason why, in this day and age of it has a Texan accent. Anyone who counts themself as a Wayne Shorter’s Ju Ju and Remembrance by the limited venues even for small groups, a nine-piece fan of Coleman’s music owes it to said self to obtain a drummer’s own Jazz Machine. When thinking of or orchestra enjoys a steady weekly gig for 18 years. The copy. listening to Jones, it is natural to think of Coltrane. answer may be the title of the George Gee Swing How it measures up to Coleman’s other records is Together, they were half of one of the greatest jazz Orchestra’s new CD. Gee and his collaborator, musical beside the point. It’s hard to imagine anyone thinking ensembles of all time and, indeed, Jones was himself director and trombonist David Gibson, have put New Vocabulary would either outshine or be a radical one of the most influential drummers in jazz. While he together an offering of 19 tracks that swing from the departure from his greatest works, before or after should be considered on his own artistic merits and horn section blast on the opener to the final note. The hearing it. It’s an uneven album. Having a dozen songs The Jazz Machine, in various incarnations, was an album includes standards, five originals (all of the of five or so minutes each is hardly unusual for a inspired band in its own right, Coltrane is a prime arrangements by Gibson with a salute to the basic Coleman release. But the tracks don’t ever quite inspiration on both of these records, especially for the Basie ingredients), plus three transcriptions taken from coalesce into a unified statement. There are electronic approach(es) to improvisation on modal forms. the Chick Webb Orchestra book. The ensemble is washes and rumbling drums and passages of fine It should come as no surprise that Remembrance composed of Gibson, Freddie Hendrix and Andy interplay but the group never quite finds its way into was chosen by MPS Records as part of its recently Gravish (trumpets), Ed Pazant (alto), Michael Hashim being a band. That doesn’t make it a bad record, it just undertaken reissue initiative. The February 1978 (tenor), Tony Lustig (baritone), Steve Einerson (piano), makes it an odd one. It’s still a valid entry into the session was recorded in Stuttgart, Germany with Pat Marcus McLaurine (bass) and Willard Dyson (drums), discography, even if it will sit alongside other odd LaBarbera and Michael Stuart (saxophones), Roland plus a pair of traditional band vocalists (one female, ones, like the Naked Lunch soundtrack or the clean and Prince (guitar) and Andy McCloud III (bass). The one male) in Hilary Gardner and John Dokes. reverberating 1986 meeting with Pat Metheny or greater half of the compositions were penned by Because of the size of the group, each musician Shirley Clarke’s fantastically odd 1975 documentary LaBarbera and the set consists largely of structures for gets a chance to shine on one track or the other so there Ornette: Made in America. New Vocabulary might not be modal blowing. “Beatrice” is an exception, a tune by are many enjoyable solos throughout. Notable on the a great record, but it’s an important one. McCloud and more changes-based. The title track is tracks with vocals is Dokes showing he can do a blues reminiscent of “The Drum Thing” from Coltrane’s holler with the best of them on “I’d Rather Drink For more information, visit systemdialingrecords.com Crescent (1964), comparable in mood and both primarily Muddy Water” and Gardner (who can sing anything) an extended drum solo, the band playing only on the proving she can belt it out on “Sweet Pumpkin” (where head in and out. Even if most of the tunes don’t depend she is reminiscent of ). The three on a lot of harmonic changes, the mood and emotion Webb orchestra transcriptions (“Lindyhoppers’ do move around while the band has a consistent, Delight”, “Midnight In A Madhouse” and “Blue unified character. Minor”), from the days when the drummer’s orchestra Saxophonist Wayne Shorter has been in the jazz was the epitome of swing, are the highlight of the CD spotlight since joining Art Blakey’s Jazz Messengers in and sound just as fresh as when they were first played. 1959 and the Blue Note records he made under his own This album demonstrates Gee and Gibson’s vision name are seminal. Recorded in August 1964, Ju Ju (this of swing as a “living thing”. It is a toe-tapper and LP reissue is part of Blue Note’s 75th anniversary definitely makes one smile. From the philosophy of the celebration) has been widely regarded as one of the classic Ellington/Mills opus, this CD “means a thing!” most explicitly influenced by Coltrane, from the modal chord structures right down to the rhythm section, For more information, visit rondettejazz.com. This band is including Coltrane regulars Jones and pianist McCoy at Swing 46 Mar. 13th, 20th and Tuesdays. See Calendar Tyner and sometimes bass player Reggie Workman. and Regular Engagements. However, Shorter’s personality is undeniable. The title track is indicative of the entire session: aggressive, but not simply loud; collective storytelling; unwavering in spirit. Jones swings hard throughout and his accents on “Deluge” complement the melody. Opening with a beautiful drum solo, the exotic “Mahjong” suggests a 3 feel over 4. With its disproportional AABA form “Yes Or No” sounds the most straightahead while “House Of Jade” is ballad-like. The closing blues, “Twelve More Bars”, reflects the after-hours activity of the city that never sleeps. Both of these reissues have been produced with New Vocabulary care. Jones is often remembered for powerful, fiery Ornette Coleman/Jordan McLean/Amir Ziv/ Adam Holzman (System Dialing) drumming and those qualities are certainly present by Kurt Gottschalk here, but one should not miss the nooks and crannies, the subtlety in his performance. Jones was already a There’s no way to listen to the self-titled debut mature musician at 36 years old when Ju Ju was recording by New Vocabulary without hearing a recorded, but in the nearly 14 full years before 50-year thread through the history of jazz. There’s also Remembrance was recorded, he continued to grow. In no reason to try to listen to it any other way. the liner notes to the latter, producer Joachim-Ernst The album opens with a couple of distantly Berendt states: “There are many drummers today discordant, atmospheric tones before one of the most whose hands are faster than their heads. With Elvin, recognizable voices ever to emanate from a saxophone head and hand, body and soul are a single entity.” flits over the top of it. The saxophonist is Ornette Coleman, perhaps the most revolutionary figure jazz For more information, visit mps-music.com and bluenote.com. has known and who turns 85 this month. His bandmates A Jones tribute is at Smoke Mar. 27th-29th. See Calendar. are New Yorkers half his age—trumpeter Jordan

32 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD www.trost.at TROsT REcORds & cIEN FUEgOs 2 015 www.cienfuegosrecords.com

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What You Mean To Me Joel Forrester Trio (Ride Symbol) In New York (Introducing Christina Clare) Spiritman Joel Forrester Quintet (Ride Symbol) Steve Turre (Smoke Sessions) by George Kanzler by Joel Roberts

Jazz has boasted many eclectic pianists whose versatility Some people play jazz, others seem to live and breathe allows them to range through the myriad styles that it. Steve Turre is one of the latter. From early stints Sun, Mar 1 SPLIT CYCLE, CD RELEASE 8:30PM Samuel Blais, Aki Ishiguro, Nicolas Letman-Burtinovic, Jeff Davis have marked the music’s history. Joel Forrester is one of with the likes of pianist Ray Charles, reedplayer them but also has an ace up his sleeve as an equally , trumpeter Woody Shaw and Tue, Mar 3 SYBEREN VAN MUNSTER’S PLUNGE 8:30PM diverse composer, blessed with that indispensable gift drummer Art Blakey, he’s developed into one of the Ben van Gelder, Vitor Gonçalves, Martin Nevin, Mark Schilders of all the best songwriters: an instinct for memorable premier trombonists of his generation while also Wed, Mar 4 JEFF DAVIS’ MOUNTAINS MOUNTAINS WATER 8:30PM melody. He’s written well over 1,600 compositions in a introducing the conch shells to jazz and holding down Tony Malaby, Jonathan Goldberger, five-decade career and 31 of the 32 (two are repeated on a 30-year gig with the Saturday Night Live band. Thu, Mar 5 RYAN KEBERLE & CATHARSIS 8:30PM both albums) on these CDs are among them. Eight of There’s always been a deep devotion to the jazz Scott Robinson, Jorge Roeder, Eric Doob them, on In New York, include his lyrics. tradition evident in Turre’s music, along with a strong Fri, Mar 6 PAUL JONES QUARTET + Forrester is best known to jazz fans as the co-leader, sense of spirituality. Both those qualities are on display THE SNAP SAXOPHONE QUARTET 9PM & 10:30PM with saxophonist , of The Microscopic in his outstanding new release. The album includes Phil Markowitz, Yasushi Nakamura, Sam Dillon, Nicholas Biello, Andrew Gould, Jake Robinson Septet. What You Mean To Me is a trio with bassist Dave updated versions of standards and tributes to some of Hofstra and drummer Matt Garrity (both also heard on Turre’s jazz heroes, as well as tunes that explore both Sat, Mar 7 , MIKE MAINIERI DUO 9PM & 10:30PM In New York) that had a steady gig in New York playing societal and metaphysical concerns. Tue, Mar 10 MICHEL REIS QUARTET, to what Forrester describes, with gleeful appreciation, The opener is an original written in honor of and CD RELEASE: CAPTURING THIS MOMENT 8:30PM Aaron Kruziki, Eddy Khaimovich, Jonas Burgwinkel as “a rigorously indifferent audience”, which, he says, in the style of Blakey, one of Turre’s mentors, who allowed them to develop the original repertoire heard brought him to New York to play in his -era Wed, Mar 11 BEN VAN GELDER SEPTET 8:30PM on the album without such interferences as suggestions Jazz Messengers in the early ‘70s. It’s an energetic Matt Brewer, Craig Weinrib, Peter Schlamb, Adam O’ Farrill, Kyle Wilson or requests. Recorded all in one afternoon, it reflects hardbop workout featuring some of Turre’s most the empathetic unity of the trio, with bass and drum impressive soloing, along with fine turns by Thu, Mar 12 HARRIS EISENSTADT AND GOLDEN STATE 8:30PM Marty Ehrlich, Sara Schoenbeck, Eivind Opsvik solos melding with, rather than intruding on, the flow saxophonist Bruce Williams and pianist Xavier Davis. established by the leader’s piano. The range of the “Funky Thing”, a tune Turre wrote for his Saturday Fri, Mar 13 ’S Sat, Mar 14 CHEATING HEART 9PM & 10:30PM songs is impressive, from ready-for-lyrics potential Night Live gig, is also in the hardbop vein, strongly , Brian Settles, Jacob Sacks, popular song standards like “Some Things Don’t Work recalling the late pianist , to whom Turre Out” and “Did You Ever Want To Cry” to a New pays direct tribute later on the album with a poignant Sun, Mar 15 NEW BRAZILIAN PERSPECTIVES: JASON ENNIS AND TRIO JOTA SETE 8:30PM Orleans shuffle, “Max’ Ramble”; a modern blues version of Silver’s “Peace”. Michael O’Brien, Conor Meehan recalling John Lewis, “Loser’s Blues”; a soul march, The album’s centerpiece is the Turre composition NEW BRAZILIAN PERSPECTIVES: ABELITA MATEUS 10PM Kim Daseul, Phillip Gillette “Soldiers in the Army”; and a “Mock Time” that “Trayvon’s Blues”, a powerful tune that starts out Billy Newman, host conjures memories of the great Herbie Nichols. There’s softly and slowly builds into an explosion of noise and

Wed, Mar 18 TOM CHANG QUARTET 8:30PM also an exotic boogie, an exercise in sophisticated rage, culminating in Turre playing the shells in what Quinsin Nachoff, Sam Minaie, Jim Black counterpoint and modern styles ranging from he describes as a call for help. Another strong Turre ruminative to hardbop. Most impressive is all of them original, “Nangadef”, is a sort of African blues that Fri, Mar 20 BARRY ALTSCHUL 3DOM FACTOR 9PM & 10:30PM Joe Fonda, Jon Irabagon boast distinctive melodies. adds congo player Chembo Corniel to the album So it’s a bit surprising that of the eight tunes rhythm section of bassist Gerald Cannon and drummer Sat, Mar 21 THE FLAME: FLAMENCO INFUSED JAZZ: INFLAME 6PM Snehasish Mozumder, Ranendra Kumar Das, Harrison provides with lyrics for Christina Clare on Willie Jones III. Cristian Puig, Peter Basil Bogdanos In New York, only the title tune of the trio album and The session closes on a high note with a track that Rebeca Vallejo, curator and host /LUCIAN BAN NEW QUINTET 9PM & 10:30PM “Evil Dreams” are genuine melodic ballads. Most of combines the title cut with Miles Davis’ “All Blues” Tony Malaby, Bob Stewart, the others are in the novelty, patter or jump categories, and features Turre playing the conch shells directly some sounding very retro-Swing Era, especially as into the piano to create a hypnotic, ethereal effect. Sun, Mar 22 DUANE EUBANKS TRIO 8:30PM Dezron Douglas, Eric McPherson sung by Clare in her bright, almost Betty Boop voice. But they are clever. Like Cole Porter, Forrester revels in For more information, visit smokesessionsrecords.com. This Tue, Mar 24 KYLE NASSER, CD RELEASE: RESTIVE SOUL 8:30PM Jeff Miles, Dov Manski, Chris Van Voors, Jonathan Pinson internal rhymes and bouncy, rhyming lyrics. The title project is at Smoke Mar. 13th-15th. See Calendar. tune is a paean with rhymes like “rockin’ mama/ Wed, Mar 25 YUHAN SU SEXTET 8:30PM karma” and “I hope you dug my ditty/In praise of Matt Holman, Kenji Herbert, Petros Klampanis, Juan Pablo Carletti Nathan Ellman-Bell, Dan Tepfer New York City”. Other songs run with skewed perspectives, such as “A Ventriloquist’s Dummy “Niño/Brujo” Thu, Mar 26 NATE RADLEY QUARTET 8:30PM with Tony Malaby, sax Loren Stillman, Matt Pavolka, Ted Poor Dreams of Silence”, about the yearning not to speak; Christopher Hoffman, cello “Not Like That”, a vocalese-like dressing down of a Fri, Mar 27 SCOTT DUBOIS QUARTET 9PM & 10:30PM Jon Irabagon, Eivind Opsvik, Kresten Osgood cynic; and “Happy As A Clam”, extolling the joys of Album Release Concert reclusive agoraphobia. “Marching Backwards”, Tuesday, March 24th Sat, Mar 28 JOHN HÉBERT TRIO 9PM & 10:30PM Dayna Stephens, Eric McPherson meanwhile, is a stingingly funny satire of militaristic 10:30 pm @ Korzo America. The other member of the quintet is tenor 667 5th Avenue, Brooklyn Sun, Mar 29 MARTIN NEVIN GROUP 8:30PM saxophonist Vito Dieterle, whose style neatly straddles facebook.com/konceptions Tom Finn, Matt Marantz, Sam Harris, Craig Weinrib swing and bop. So do the seven instrumentals that “A Brilliant recording.” Mon, Mar 30 JUDI SILVANO’S MY DANCE, CD RELEASE complete In New York, ranging from the old timey -Mark Corroto, All About Jazz WITH MICHAEL ABENE 8:30PM rolling shuffle “The Cop-Out”, Raymond Scott jingle-y “Get one... Recommended.” ”Rapture” and Duke-ish “Your Little Dog” to the -Gapplegate Music Review Horace Silver-y “What She Does”, cool bop “Sharp Turn” and Monk-like “Mary’s Blues”. “Superb, enchanting trio.” -Bruce Gallanter, Downtown Music Gallery For more information, visit ridesymbol.com. Forrester is at The Stone Mar. 5th and Smalls 19th, both with The Microscopic listen/buy: Septet, Cleopatra’s Needle Mar. 12th and Vespa Thursdays juanpablocarletti.bandcamp.com with Christina Clare. See Calendar and Regular Engagements.

34 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD

Etan Patz)” honors the memory of a young boy who modes through a modern worldly jazz lens, is not a disappeared in Manhattan in 1979 and whose body new one. What makes it so engaging though is the way was never found. Guarna’s playing suggest the dreams Shapiro mixes in the blues, R&B, surf and other genres of a young child with a bittersweet air that to create mature new music, not world jazz with token acknowledges they will never be realized, accented by Jewish signifiers. With the help of this first-call Tzadik the ominous recurring pulse of piano and bass, with quartet, the band deftly avoids the dual pitfalls of Frahm sitting out. Both Le Fleming and Blake provide turning the Jewishness into caricature and ‘overjazzing’ superb accompaniment throughout the session. the music at the expense of its soul. Shapiro can be intensely spiritual. On the session

Rush For more information, visit bjurecords.com. Guarna is at opener his mournful alto saxophone is a bluesy cantor Tom Guarna (BJU Records) 55Bar Mar. 22nd. See Calendar. praying for the people through the melody from “Shema Koleinu”, which morphs into an equally by Ken Dryden devotional “Hashivenu”. Marc Ribot’s jangly guitar is Brooklyn native Tom Guarna has been active in his paired with alto for an appropriately transcendental hometown apart from a brief sojourn to Los Angeles in “Ashamnu” while “Surfin Salami” takes advantage of the late ‘80s. The guitarist has several recordings for Ribot’s quintessential surf punk guitar as he channels SteepleChase and Rush is devoted to his compositions, Dick Dale’s “Misirlou” in freygish. which lean toward fusion without taking a full plunge Bassist and drummer Tony Lewis are away from his roots. well acquainted with Shapiro’s soulful musical stew. He’s accompanied by old friend Joel Frahm (tenor They allow “Search Your Soul” to glide through its and soprano saxophones), keyboardist Danny Grissett, smoky hot course as Shapiro and Ribot trade hot solos. bassist Orlando Le Fleming and drummer Johnathan They do cook when needed and find a bit of reggae to Morphoses Blake. The opening title track defies easy categorization. give “Get Me to the Shul on Time” its immediacy and Nate Radley (-New Talent) The infectious theme synchronizes guitar and soprano, by Phil Freeman “In Phyrigia” its polyrhythmical core. They turn fueled by the tight rhythm section in the head, leading “Daven Dance” into a two-tone take on Hasidic ecstasy into diverse solos by the leader and Grissett (on Fender Guitarist Nate Radley’s third album is a unique and and “Halil” into a Bo Diddley raver. Percussionist Rhodes). “Beringia” is more straightahead and upbeat, thoroughly pleasurable blend of country, rock, blues guests on “With Reeds and Skins”, again leading off with a unison line by Guarna and and a dash of jazz. Recorded with saxophonist Loren closing out the session as an exotic Middle Eastern Frahm (on tenor), showcasing Frahm’s explosive horn Stillman, bassist Matt Pavolka and drummer Ted Poor, duet. Throughout all of this, Shapiro and Ribot are and the guitarist’s solo. it’s got a slow-burning but unpredictable energy, most magical when they infuse their command of the “Dreamland” changes the mood rapidly with its sustaining a mood without devolving into a series of blues into these worldly waters to lay bare a foundation mellow blend of tenor with guitar providing harmony pointless interludes. (In other words, if you’ve never of soulful bedrock. These are the moments when the and Grissett’s raindrop-like interludes. “Shambleau” managed to stay awake all the way through one of Bill sounds of the shofar are truly seen. smolders with intense playing all around and a hook Frisell’s “Americana” albums, this may be for you.) that never releases the listener. The touching ballad Radley layers the guitar on many tracks, picking For more information, visit tzadik.com. Shapiro is at City (and suddenly topical) “Elegy For Etan (Dedicated to out a melody while adding atmospheric sliding tones Winery Mar. 8th. See Calendar. to the background via lap steel. Poor is intuitive and serves the music quite well; rock-ish energy is evident, The new CD from Southport Records though on a more laid-back piece like “Travis” or “Ramble”, he can slap out a simple country groove and make it swing. The way lap steel and saxophone JOANIE PALLATTO harmonize on the melody (which is a real melody you & MARSHALL VENTE could set lyrics to, not just some little music-school squiggle with a tricky turnaround) is quite beautiful. “Two Again” As a soloist, Radley is quite a picker, venturing from twang to bluesy rock and back in a single phrase, at times recalling country fretboard wizards like Merle Travis or Junior Brown. The album has a strong aura of Bakersfield country to it; hearing Merle Haggard set lyrics to some of these pieces would be a genuine marvel. The only time it disappoints is on “Long Notes”, when he abandons twang and in favor of mellowed-out ‘’ meandering. Fortunately, “Mechanics” picks up the energy level quite a bit, moving in a tick-tock, almost math-rock direction. Morphoses lives up to its title, warping various familiar sounds in new and fascinating ways, proving in the process that swing and improvisation are possible (and welcome) within any genre or style.

For more information, visit freshsoundrecords.com. This project is at Cornelia Street Café Mar. 26th. See Calendar.

“The performances are dazzling” – Rick Kogan, Chicago Tribune One Voice and One Piano create song treasures from Bacharach to Brazil to the Beatles with a jazz sensibility.

Shofarot Verses Paul Shapiro (Tzadik) Southport Records by Elliott Simon chicagosound.com 773-281-8510 The idea behind saxophonist Paul Shapiro’s Shofarot Verses, reimagining Jewish liturgical melodies and

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 35

lesser known yet equally vital influence comes from saxophonist Jason Yarde, which previously recorded as the Fon of Benin, called the Arará by Cubans. On New part of an octet on For the Blue Notes (Ogun, 2012). Throned King, Cuban alto saxophonist/composer Moholo-Moholo has long favored piano-driven groups; Yosvany Terry pays tribute to this rich heritage, in addition to McGregor, he’s performed and recorded influenced by his upbringing in the province of with Keith Tippett, and Dutchman Kees Matanzas, a center of diasporic Arará culture, and by Hazevoet. Hawkins falls somewhere between the his initiation into the Arará Sabalú cabildo (lodge) at rhapsodic intensity of Tippett and percussive insistence the behest of his (recently deceased) padrino, Mario of Tracey and McGregor, with a penchant for curling, “Maño” Rodríguez. The album is thus a reverent delicate minimalism. Abetted by Edwards’ robust tugs

Fantasm (The Loft Sessions) rendering of traditional chants and toques (drum and Yarde’s dry, sputtering clamber, the quartet of Albrecht Maurer/Lucian Ban/Mat Maneri (Nemu) patterns) that honor and call forth various 4 Blokes engenders a formidable but appealing unity. by Ken Waxman manifestations of Fon spirits. The opening “For the Blue Notes” captures The title track, for example, is played for Asojano, Hawkins’ rambunctious cellular insistence perfectly as German violinist Albrecht Maurer, Romanian pianist an Arará version of the Yoruba deity Babalú (familiar Moholo-Moholo fragments a martial beat against Lucian Ban and American violist Mat Maneri have to North Americans through Ricky Ricardo’s signature Yarde’s bitter turns and harried forward volleys. created a CD of shadowy subtlety that redefines the song on the I Love Lucy TV series). Terry’s group Ye-Dé- Hawkins is the next soloist, harmonics spreading out idea of a string trio. The three unearth a distinguishing Gbé (Fon for “approval of the spirits”) includes pianist into overlapping chunks, all taking place in a compact, blend, which takes as much from Eastern European Osmany Paredes (Jason Moran guests on “Reuniendo five-minute piece. For all that Moholo-Moholo brings memories, early music and microtonal inferences as la Nación”), bassist Yunior Terry (Yosvany’s brother), to and from the kit, it’s important to recognize that jazz or notated music. Ban, now New York-based, and guitarist Dominick Kanza and drummer Justin Brown. 4 Blokes is a collective recording and much space is Maneri have explored similar concepts on previous Author/poet Ishmael Reed performs spoken word on given to the other three members to explore the nine CDs but Fantasm’s sound experiments are given added “Mase Nadodo”. The core of the album’s sound, compositions’ possible directions. Pukwana’s resonance from Cologne-based Maurer, a reformed however, comes from Pedro Martínez, Sandy Pérez “Khwalo”, drawn out slowly from the spare “All of fusion musician. and Román Díaz, who perform on a special Us”, is a kwela-inspired, gospel-like refrain that spirals It’s probably no surprise that the consummate commissioned set of Arará drums (similar in size and out as alto erupts into high-pitched squeals and dusky, definition of what this trio can achieve takes place function to the Yoruba Batá drums). Martínez’ keening flywheel-like jabs, nudged by ringing upper-register during the violinist’s two-part suite “Aura”. soulful vocals on tracks like “Ojún Degara” and chords and the pattering thrum of brushes and Sequentially dark and light, the 11-plus-minute “Healing Power” make this music highly accessible, pizzicato. “Tears for Steve Biko” is the disc’s longest composition begins with Ban reconstituting tremolo and yet it is not a repertory project, for Terry has work at 16 minutes, supple pot-stirring and dry chatter strums so that they suggest an accordion’s shuddering interjected his own jazz sensibilities throughout, a relentless anchor for explosively skirling soprano, in bellows, as the fiddlers’ spiccato lines reference especially in the piano chord voicings and improvised declamatory recapitulations atop Hawkins’ nattering, folkloric airs. Bridged by scratching pizzicato from one solos. The high production value of the recording also resonant right hand. This latest salvo is a fine reminder string player, the second movement is more overtly lends a contemporary sheen, belying the traditionally that the British-South African artistic linkages remain impressionistic, especially when it reaches a crescendo rooted, gritty essence of the music. What we’re left as strong as ever. mixing dynamic piano patterns plus aviary flanges with is a compelling hybrid of old and new. from the strings. Most compelling is how near-Asiatic For more information, contact [email protected] motifs, referencing Eastern Europe’s Ottoman history, For more information, visit 5passion.com. Terry is at 92nd are craftily interpolated into the narrative. Street Y Mar. 13th as part of Latin on Lex. See Calendar. The trio’s compositions reflect their individualism.

Maneri’s “Last Steps” is the most melancholic, with spindly string jabs meeting piano patterns for expressive tonal dislocation. Ban’s five compositions share a more upbeat attitude: besides a methodical exposition, they encompass discreet Romanian folklore twists on “Irreverence”; locked-groove jazz pulsing on “El Corazon”; and deepening swing constructed from comprehensive harmonies on “Pina”. The one composition that appears to have arrived intact from the 19th century romantic tradition is the title track, 4 Blokes which was actually composed by the late drummer Louis Moholo-Moholo Quartet (Ogun) Paul Motian, an unhyphenated jazz master. It allows by Clifford Allen both violinist and violist to vibrate tender textures in contrast with Ban’s focused key-crunching until all It’s a curious thing that several architects of English three relax into a polyphonic rapprochement. free music came from elsewhere, putting their Playing as a duo or in larger ensembles, Maneri experiential stamp on a rather tough environment for and Ban have proven that they’re excellent interpreters creative musicians. Among the settlers were The Blue of each other’s ideas. Maurer’s sympathetic partnership Notes, an integrated South African band of saxophonists makes this trio expansion even more imposing. Dudu Pukwana, Nick Moyake and Ronnie Beer, trumpeter Mongezi Feza, drummer Louis Moholo- For more information, visit nemu-records.com. Ban and Moholo, bassist Johnny Dyani and pianist Chris Maneri are at Greenwich House Music School Mar. 13th McGregor (the only white player in the group) fleeing and Cornelia Street Café Mar. 21st. See Calendar. apartheid, who arrived in 1965 and would prove among the most influential collectives on

British and European jazz. Moholo-Moholo, who turns 75 this month and resettled in South Africa in 2005, is the only surviving member and has been active in European free music for 50 years, having led his own groups and worked with an extraordinary range of vanguard players both within and outside the United Kingdom. With a blend of Sunny Murray’s pulsative waves and the rhythmic inversions of Milford Graves and Ed Blackwell, filtered through the detail of Max Roach New Throned King and economy of , it is a wonder that Yosvany Terry (5Passion Music) by Tom Greenland Moholo-Moholo isn’t spoken of with equal reverence (at least in this country) as those players. His latest The impact of Congolese, Yoruba, and other African ensemble features pianist Alexander Hawkins along cultures on Cuban music is well documented, but a with bassist John Edwards and alto/soprano

36 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD

Merega first recorded together with guitarist David Tronzo in 2006 and since then have worked together in at KITANO various configurations, most notably in Kaplan’s JAZZMusic • Restaurant • Bar quartet with guitarist Joe Morris. In 2012 Kaplan and “ONE OF THE BEST JAZZ CLUBS IN NYC” ... NYC JAZZ RECORD LIVE JAZZ EVERY Merega also appeared in Moffett’s Ad Faunum quintet. WEDNESDAY - SATURDAY That long relationship is necessary to develop the $15 WED./THUR + $20 Minimum/Set. kind of music they play together, whether composed or $30 FRI./SAT. + $20 Minimum/Set improvised. Kaplan especially is devoted to quarter- What I Heard 2 SETS 8:00 PM & 10:00 PM tone improvisation and its integration into his music as Oliver Lake Organ Quartet (Passin’ Thru) JAZZ BRUNCH EVERY SUNDAY a structural principle. That, coupled with the complex TONY MIDDLETON TRIO To Roy 11 AM - 2 PM • GREAT BUFFET - $35 Oliver Lake/William Parker (Intakt) internal structures of even his freely-improvised music, OPEN JAM SESSION MONDAY NIGHTS • $15 MINIMUM requires the closest of associations. The improvised 8:00 PM - 11:30 PM • HOSTED BY IRIS ORNIG by Russ Musto TUESDAYS - YOUNG PIANIST SHOWCASE pieces heard here arose between recording three-voice 8:00 PM - 11:00 PM • $15 MINIMUM Few jazz musicians of note have plied their trade in as extracts from one of Renaissance composer Josquin des MARCH 3, 10, 17, 24 & 31 - CHRIS ZIEMBA many different settings as Oliver Lake. Yet the veteran Prez’ settings of L’Homme Armeé. WED. MARCH 4 EHUD ASHERIE TRIO alto saxophonist’s voice remains uniquely personal, as The counterpoint and arising dissonance of EHUD ASHERIE, DAVID WONG, AARON KIMMEL can be heard in the sophomore outing by his organ Josquin’s music underlie these concentrated works— $15 COVER + $20 MINIMUM quartet and a debut duo with bassist William Parker. 10 pieces in 33 minutes—each of them a studied THURS. MARCH 5 What I Heard finds Lake fronting a foursome exercise in close listening and pacing. No line—no AYAKO SHIRASAKI TRIO featuring Jared Gold on Hammond B3 organ, along tone—develops independently. Each musician’s part is WITH SPECIAL GUEST LEWIS NASH with trumpeter Freddie Hendrix and drummer Chris engaged with a complex whole that is gradually AYAKO SHIRASAKI, NORIKO UEDA, LEWIS NASH $15 COVER + $20 MINIMUM Beck. The date features a program comprised entirely realized, the timbres themselves—the brassy shards of FRI. MARCH 6 of typically idiosyncratic originals by the leader, trumpet; round and hollow sound of tenor; warm, SVETLANA SHMULYIAN displaying his engaging command of an ever-evolving electric hum of bass—allowing each sound to pass & THE DELANCEY FIVE rhythmic architecture and distinctive harmonic palette. through or to combine, identity arising everywhere as W/SPECIAL GUEST WYCLIFFE GORDON SVETLANA SHMULYIAN, ADRIAN CUNNINGHAM The versatile Hendrix once more proves to be the sonic relationship. CHARLIE CARANICAS, BEN PATTERSON perfect foil for Lake; capable of both subtle or jarring Occasionally a piece will jump out for its greater GEORGE DELANCEY, ROB GARCIA $30 COVER + $20 MINIMUM tonal modulation throughout his expansive range, his animation, like the aptly named “Buzz” or concluding SAT. MARCH 7 sound alternately blends and contrasts with Lake to “Discontinuity with Finale”, but each is an exercise in INVENTIONS TRIO express a far reaching range of emotions. Gold, too, is scrutinizing pitch, its character and the nature of its FEATURING BILL MAYS, MARVIN STAMM & ALISA HORN $30 COVER + $20 MINIMUM in complete control of his instrument, coaxing a combinations. It’s singularly demanding listening, WED. MARCH 11 kaleidoscope of sounds from the keyboard and pedals with correspondingly high rewards. SARAH SILVERMAN/ to give the ensemble a character anything but typical BRUCE BARTH DUO of the standard organ group. Beck’s polyrhythmic For more information, visit underwolf.com. Merega is at $15 COVER + $20 MINIMUM drumming fills things out worthily, providing shifting Prospect Range Mar. 27th. Moffett is at Delroy’s Cafe and THURS. MARCH 12 pulses that reinforce the pieces’ episodic narratives. Wine Bar Mar. 16th. See Calendar. ANKE HELFRICH QUARTET ANKE HELFRICH, Lake, as always, leaps authoritatively out of the MARTIN WIND, JONAS BURGWINKEL different environments, be it the ethereal Miles-ian USED $15 COVER + $20 MINIMUM mode of “6 & 3”, strident Eric Dolphy-esque dissonance FRI. MARCH 13 of “What I Heard” or bopping bluesiness of “Root”. TINA FABRIQUE QUARTET NEW “TRIBUTE TO ELLA FITZGERALD” Within the pared-down framework of To Roy, both TINA FABRIQUE, LAFAYETTE HARRIS Lake and Parker’s skills as improvisers come to the ERIC WHEELER, DWAYNE “COOK” BROADNAX $30 COVER + $20 MINIMUM fore. Comprised of 11 concise duets (the shortest just SAT. MARCH 14 under three minutes, the longest slightly more than QUARTET six), the studio date (a memorial to the late trumpeter GARY BARTZ, PAUL BOLLENBACK Roy Campbell) is a multi-hued sound odyssey. Parker’s JAMES KING, GREG BANDY $30 COVER + $20 MINIMUM “Variation on a Theme of Marvin Gaye” opens the set WED. MARCH 18 soulfully, Lake blowing passionately over the altered JANICE FRIEDMAN TRIO “What’s Going On” bassline, while Lake’s “Check” 236 West 26 Street, Room 804 CD RELEASE EVENT “LIVE AT KITANO” JANICE FRIEDMAN, ED HOWARD, MARK MCLEAN and “Is It Alright?” have the pair conversing intensely, New York, NY 10001 $15 COVER + $20 MINIMUM moving back and forth between lyrical melodic THURS. MARCH 19 statements and raucous multiphonic exclamations. Monday-Saturday, 10:00-6:00 JOHN DOKES QUINTET Two Parker dedications—brooding “Bisceglia” and JOHN DOKES, STEVE EINERSON DAVID GIBSON, ALEX CLAFFY, JAY SAWYER Spanish-tinged “Victor Jara”—prove him to be an Tel: 212-675-4480 $15 COVER + $20 MINIMUM accomplished composer, just as the collaboratively FRI. MARCH 20 composed “2 of Us” and “To Roy” confirm the duo to Fax: 212-675-4504 VALERIE CAPERS TRIO be an exceptionally well-matched team. VALERIE CAPERS, JOHN ROBINSON, DOUG RICHARDSON $30 COVER + $20 MINIMUM Email: [email protected] SAT. MARCH 21 For more information, visit passinthru.org and intaktrec.ch. Web: jazzrecordcenter.com ANDY SUVALSKY QUARTET Lake is at Village Vanguard Mar. 24th-29th. See Calendar. ANDY SUVALSKY, ASEN DOYKIN TRIFON DMITROV, YUTAKA UCHIDA LP’s, CD, Videos (DVD/VHS), $30 COVER + $20 MINIMUM Books, Magazines, Posters, WED. MARCH 25 Postcards, T-shirts, LARRY FULLER TRIO LARRY FULLER, KATIE THIROUX, MATT WITEK Calendars, Ephemera $15 COVER + $20 MINIMUM THURS. MARCH 26 CARL BARTLETT JR. QUARTET Buy, Sell, Trade CARL BARTLETT JR., YOICHI UZEKI ERIC LEMON, SYLVIA CUENCA $15 COVER + $20 MINIMUM Collections bought FRI. MARCH 27 TRIO and/or appraised DAVID KIKOSKI, ED HOWARD, ADAM CRUZ $30 COVER + $20 MINIMUM Crows and Motives SAT. MARCH 28 Also carrying specialist labels CELEBRATING THE RELEASE OF Noah Kaplan/Giacomo Merega/Joe Moffett e.g. Fresh Sound, Criss Cross, THE WOLFF & CLARK EXPEDITION 2 (Underwolf) RANDOM ACT RECORDS CD RELEASE EVENT by Stuart Broomer Ayler, Silkheart, AUM Fidelity, MIKE CLARK, JALEEL SHAW , GERALD CANNON Nagel Heyer, Eremite, Venus, $30 COVER + $20 MINIMUM Tenor saxophonist Noah Kaplan, electric bassist Clean Feed, Enja and many more RESERVATIONS - 212-885-7119 VISIT OUR TWEETS AT: http://twitter.com/kitanonewyork Giacomo Merega and trumpeter Joe Moffett have www.kitano.com • email: [email protected] ò 66 Park Avenue @ 38th St. developed their relationships for a decade. Kaplan and

38 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD

‘30s to shortly before his death in 1997, gaining fame where he seems to clip his phrases and delivers an through his partnership with the brilliant extended thematic solo. “Double Life”, the final track, guitarist Django Reinhardt. Grappelli left France at the contains another rigorously structured, through- start of World War II while Reinhardt remained behind; phrased solo by O’Gallagher, followed by a bass solo they attempted a postwar reunion, but listener tastes that sounds as if Lasserson is having a conversation had changed and the chemistry wasn’t the same. with himself, then a double-cadenza finish. To judge Grappelli continued to record on occasion, but his from the band’s laughter, it was a fun gig. career took off around the same time that guitarist Diz O’Gallagher scoots over to the driver’s seat for Disley, who died five years ago this month at 78, began The Honeycomb, a trio date with bassist Johannes

Meets the Classics working with him in the early ‘70s. They toured and Weidenmueller and drummer Mark Ferber, both long- Paquito D’Rivera (Sunnyside) recorded extensively for nearly a decade with a second term collaborators who understand his modus by George Kanzler guitarist and bassist, building upon the gypsy jazz operandi. The Honeycomb displays O’Gallagher’s format but expanding beyond it at times, tackling continuing penchant for pushing chromatic melodicism Don’t let the title put you off. There’s nothing solemn, modern works along with Grappelli’s originals. to its final frontiers. The freebop veneer masks a sanctimonious or polite about this plunge into the This 1975 session (previously reissued on CD as carefully structured approach: melodies and classical music repertoire from Paquito D’Rivera’s Shades of Django) features Grappelli with Disley, improvisations that initially seem outward bound sextet, captured live during a mid-2012 gig at Jazz at guitarist Ike Isaacs and bassist Isla Eckinger. The focus eventually circle back on themselves. “Uroboros” is Lincoln Center’s Dizzy’s Club. The atavistic image is mostly on chestnuts the violinist recorded with based on a 12-tone row and O’Gallagher’s solo of fast, conjured by the cover photo of the band in embroidered Reinhardt and although they retain the gypsy swing finely wrought lines builds with taut internal logic. 18th Century jackets and waistcoats is belied by the vibe, their spirited performances and obvious chemistry “Extralogical Railman”, based on Charlie Parker’s downhome brio of the music, which exuberantly keep things fresh. Grappelli plays improvised flights “Relaxin’ at Camarillo”, recalls the original, but seems combines classical themes with myriad AfroLatin and that sound effortless, with the chugging rhythm section to exist in a parallel intervallic universe; O’Gallagher’s jazz rhythms. And in a refreshing departure from the providing solid accompaniment and potent solos on exciting doubled-up solo never loses coherence in the usual jazz/classical forays, there’s not a hint of Bach. occasion by Disley and Eckinger. Among the highlights: midst of the maelstrom. This is musicians’ music in the Of the ten musical selections, four tap Chopin, two the heartfelt interpretation of “Solitude”, in which sense that the more one can appreciate the complexity Mozart and one Beethoven. Latin American composers Grappelli focuses on the lower range of his instrument; of O’Gallagher’s concept, the more one is blown away provide the balance, including pianist Pepe Rivero, whimsical treatment of “Ain’t Misbehavin’” that by the seemingly effortless, high-speed delivery of his who replaces Alex Brown on three tracks, including his showcases the two guitarists sharing the solo space; ideas. His remarkable solos on “Petulant Snoot”, the own rollicking “Pa Bebo”. and the lively take of “Cherokee”, which is introduced title track, “Eve Day” and “Kerberos” collectively After finishing the popping, quicksilver finale of with an Irish jig flavor. Two tracks add a bit of variety: reinforce the impression that here is an artist “Fantasia Impromptu” (based on Chopin’s “Impromptu Grappelli plays electric piano and overdubs violin on thoroughly in tune with—and perhaps slightly ahead in C# minor”), D’Rivera quips: “That was a nice one— his mellow ballad “Souvenir De Villages” while Isaacs of—his musical times. if you don’t have to play it.” Of course he has no contributes the twisting bossa nova “Joy”. The sound of trouble at all playing it, his clarinet prancing ebulliently this new remastering makes it worth the investment for For more information, visit willfulmusic.com and through the tricky first theme before Diego Urcola’s those who own earlier versions. freshsoundrecords.com. O’Gallagher’s trio is at Greenwich valve trombone essays the familiar, slower second House Music School Mar. 6th. See Calendar. theme (source of “I’m Always Chasing Rainbows”) For more information, visit mps-music.com over a tropical rhythm, one that heats up for exchanges from trumpet (Urcola again), D’Rivera and Brown. In introducing the “Adagio” from Mozart’s clarinet oLiVER LaKE concerto, D’Rivera voices suspicions that the composer was not born in Austria but Louisiana, hence the New Orleans second-line feel of the band’s version, capped off by a clarinet cadenza that wouldn’t have been out of place back in 18th-century Vienna. The irrepressible D’Rivera favors his clarinet here, occasionally alternating it with soprano saxophone; the two higher Valence reeds blend and contrast winningly with Urcola’s John O’Gallagher/Sam Lasserson/ valve trombone, although he does contribute two (Willful Archives) memorable Harmon-muted solos on trumpet, one on The Honeycomb John O’Gallagher Trio (Fresh Sound-New Talent) “Valse de la Media Hora”, a Latinization of Chopin’s by Tom Greenland “Minute Waltz”. Cuban composer Ernesto Lecuona’s “Al Fin Te Vi” becomes a sprightly clarinet-electric In a city of highly trained, forward-thinking creative bass (Oscar Stagnaro) duet while Paraguayan Augustin improvisers it’s easy to get lost in the shuffle, but over Barrios’ “Las Abejas” largely features Brown. the last 25 years alto saxophonist John O’Gallagher has Throughout, D’Rivera infuses the rhythmic spirit of collaborated with some of New York’s most progressive Latin America into the classical music with which he is jazz artists. Two recent outings show off the equally enthused. considerable strengths of this talented musician. Veteran drummer Jeff Williams is the driving force For more information, visit sunnysiderecords.com. D’Rivera behind Valence, an album of originals performed with is at Rose Theater Mar. 27th-28th. See Calendar. bassist Sam Lasserson and O’Gallagher, the former from his London-based group, the latter from his North American quartet. Recorded live in Switzerland, the CD lacks the fidelity of a studio date but more than “This is unlike any organ quartet you’ll compensates with high-energy performances. hear, a vivid sketchbook of color and “Borderline”, the calypso-esque opener with a sound, no easy hooks, no compromise. repetitive bluesy theme, shows the group’s taste for —Jon Ross, Downbeat chromatic melodic architecture. “Skullduggery”, another repetitive theme, features a beautifully “an organ group sound for the future” —Ed Enright, Downbeat constructed alto solo capped by Williams’ tasteful cross-sticked coda. Lasserman breaks up the beats of “With jazz organ groups, you usually know “Under the Radar” with subtle unorthodox accents. Violinspiration what you get... Lake knows that tradition, “Go Where You’re Watching” (O’Gallagher’s sole but his organ quartet all but wipes the Stephane Grappelli/Diz Disley Trio contribution) begins with a four-and-a-half-minute (MPS-Kultur Spiegel) slate clean.” —Kevin Whitehead, NPR alto soliloquy that sustains considerable interest by Ken Dryden without forcing its hand, followed by an equally Stéphane Grappelli is one of the best-known jazz compelling bass feature. Williams plays with brio violinists, his recording career lasting from the mid throughout, but is especially edgy on “The Messenger”, PassiNThRu.oRg

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 39 pianist . But the city had also been six Thad Jones-led tracks from a 1978 concert, proof of BOXED SET developing local jazz talent for years too and Danes his sterling work in developing the band, as well as and other Scandinavians have always comprised the four tracks from the band’s first United Kingdom tour vast majority of the players in the DRBB, which in 1987. celebrated its 50th anniversary last year with the The last four CDs spotlight the ‘90s through 2001, release of this six-CD boxed set, a tantalizing sampler with a final track contributed by the 2014 DRBB of the band’s vast output over the previous half- featuring guest composer-pianist . century. For what Jones was taking over in 1977 was a Several tracks continue a trend first represented in the jazz big band more akin to the world’s famous early years, showcasing guest singers. Included are symphony orchestras than the Monday night big some top vocalists little known on this side of the band he was leaving. Fully funded by the Danish pond, from Lise Reinau and Birgit Brüel in the government, the DRBB had regularly scheduled beginning to , Marie Bergman and A Good Time Was Had By All rehearsals, broadcasts and concerts and a star- Silvana Malta later on. Danish Radio Big Band (Storyville) studded cast of guest artists, composers and The ‘90s were also the prime decade of the Jazzpar by George Kanzler conductors. And while Jones greatly increased the Prize and the band collaborated with many of the DRBB’s reputation in international jazz circles, that winners, as well as commissioning often long and When cornetist-composer-arranger Thad Jones reputation would only continue long after he had adventurous works from top modern talents. Among abruptly left New York for Denmark in late 1977, the moved on. The DRBB, along with the establishment the highlights are Jazzpar laureates English American jazz world was perplexed, to put it mildly. of the richest prize in jazz, The Jazzpar, in 1990 (it was keyboardist , in excerpts from his Like After all, he was abandoning what he and drummer given annually through 2004), cemented Life; British clarinetist when trombonist Bob Mel Lewis had forged into one of America’s top jazz Copenhagen’s reputation as a jazz capital, with the Brookmeyer led the band; and French pianist Martial big bands, The Thad Jones-Mel Lewis Jazz Orchestra, band often an integral part of the annual Jazzpar Solal. The DRBB also paid tribute to jazz immortals, resident Monday nights at the Village Vanguard since ceremony concerts. including a Duke Ellington Centennial suite; “The 1966. In fact the band won a 1978 Grammy for an A Good Time Was Had By All is culled from Governor”, a Jim McNeely arranged and conducted album recorded in 1977. Jones decamped to take over broadcast and concert recordings, most issued on tribute to Bill Evans; and McNeely’s “The Power and as the director-conductor of the Danish Radio Big European labels over the years. Roughly chronological the Glory Medley”, honoring some of Louis Band (DRBB), which had two years of seniority over across the six CDs, the first begins out-of-order with a Armstrong’s most famous early recordings, with New the band he was leaving. His move was a signal 1988 concert that is, paradoxically, in sequence Orleans trumpeter Leroy Jones as guest artist. There moment in the growing reality that jazz had become a stylistically, as it is a reunion with the band’s first are also excerpts of major works that expanded the genuinely worldwide music, not just a parochial director, Ib Glindemann and his style. Reinforcing creative parameter of big band music by trumpeter American one. that early band’s sound is a 1966 concert featuring an Palle Mikkelborg and pianist Thomas Clausen, further Copenhagen had long been a jazz hub in Europe early influence, , leading at the piano. reminders that the DRBB has often been at the cutting by that time, a favorite of expatriates from America, Also heard in a series of dates from the late ‘60s and edge of modern jazz. some of whom, like Jones, adopted the city as their 1970 is , playing both Ellingtonia and a home, including tenor saxophonist Ben Webster and sumptuous “Cry Me A River”. The second CD features For more information, visit storyvillerecords.com

PHILLIP JOHNSTON THE STONE, MARCH 3-8

MAR 1 MAR 17–19 AVENUE C AND 2ND STREET the music of renee rosnes quartet with 8, 10 PM $15 steve nelson, MARCH 3: MAR 2 & lewis nash 8PM Phillip Johnston solo eastman jazz ensemble with 10PM Phillip Johnston’s Idea dave glasser MAR 20–22 brussels jazz orchestra MARCH 4: MAR 3–5 8PM Phillip Johnston/ cyrus chestnut trio MAR 23 Edward Johnson Duo msm jazz orchestra featuring 10PM Phillip Johnston’s MAR 6–8 dave liebman New Big Trouble the incredible jazz guitar of MARCH 5: MAR 24 8PM Guy Klucevsek/ joey calderazzo trio Phillip Johnston Duo MAR 9 10PM Microscopic Septet MAR 25 trio MARCH 6: larry ridley jazz legacy ensemble 8PM Joe Ruddick/ MAR 10 Phillip Johnston Duo anton schwartz quintet MAR 26 10PM The Spokes the ladybugs sing MAR 11 the sound of music MARCH 7: the artistry of jazzmeia horn 8PM Microscopic MAR 27–29 Saxophone Quartet MAR 12 ’s + Friends gregory generet new yor-uba 10PM Pat Irwin/ Phillip Johnston/ MAR 13–15 MAR 30 Ed Tomney jacky terrasson quintet gabriel alegría MARCH 8: afro-peruvian sextet 8PM Ned Rothenberg/ MAR 16 Phillip Johnston Duo for strayhorn: new york youth MAR 31–APR 5 10PM Large Ensemble symphony jazz with big band

swing by tonight set times Mar. 13th, 7:30PM - Wordless! with Art Spiegelman, Heyman Center, Miller Theater, 7:30pm & 9:30pm jazz.org / dizzys Mar. 19th - 9:30&11.30PM , Smalls Jazz Club, 183 W. 10th Street, Jazz at Lincoln Center’s Frederick P. Rose Hall Broadway at 60th Street, 5th Floor, nyc PHILLIPJOHNSTON.COM

40 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD MISCELLANY ON THIS DAY by Andrey Henkin

Jazz Collaborations, Vol. 1 The Illinois Concert The Trumpet Summit Meets The Live at the Glenn Miller Café Thad Jones/Charles Mingus (Debut) Eric Dolphy (Blue Note) Dexter Gordon (SteepleChase) Big 4 (Pablo Today) AALY + Vandermark (Wobbly Rail) March 10th, 1955 March 10th, 1963 March 10th, 1975 March 10th, 1980 March 10th, 1999 Trumpeter Thad Jones and bassist Eric Dolphy’s death at 36, 15 months Just before his celebrated return from This session brings together pianist Though it would seem that reedplayer Charles Mingus (separated in age by after this concert, ended a career in more than a decade in Europe, tenor Oscar Peterson’s Big 4 of regular Ken Vandermark is a guest of the now- less than a year) first worked together some ways just beginning with his saxophonist Dexter Gordon made this bassist , ‘70s-80s guitar foil defunct Swedish trio of Mats on record seven months before this Blue Note debut Out to Lunch! His album in his adopted home of and late ‘60s-70s drummer Gustafsson (alto and tenor saxophone), date, another EP released (under Jones’ discography looks impressive but is Copenhagen with fellow ex-pats Bobby Durham with the multi- Peter Janson (bass) and Kjell Nordeson name) on the latter’s Debut Records. filled out by posthumous live albums pianist and drummer generational Trumpet Summit of (drums) for this live recording from the Here the pair are joined by the bassist’s with John Coltrane and Charles (“on loan” from Kurt Dizzy Gillespie, and Stockholm club, the entire AALY regular rhythm section partner of the Mingus’ bands. This disc was first Edelhagen) alongside Gordon’s Freddie Hubbard. The former were old discography (1996-2000) includes period in drummer Max Roach, plus released in 1999 and features the leader longtime Danish bassist Niels- friends of Peterson’s while this was his Vandermark, either alone or with his pianist John Dennis (who recorded his with Herbie Hancock (piano), Eddie Henning Ørsted Pedersen. Along with first recorded meeting with the latter. DKV trio. He contributes “Unit own Debut debut with Mingus and Khan (bass) and J.C. Moses (drums) on the almost-title track, The septet plays pithy takes of Clifford Character” while Gustafsson brings Roach on the same day!). Jones’ “One five originals and two standards, “Red the quartet performs a program of jazz Brown’s “Daahoud”, Gillespie’s “The “Alva Jo”, the 51-minute album filled More” and “More Of The Same” are Planet” and “G.W.” also including the standards like Miles Davis’ “So What”, Champ” and the standard “Just out by pieces written before either was heard alongside tunes by Cole Porter University Of Illinois Big Band (with a Ellington’s “” Friends” along with the presumably born: Albert Ayler’s “Ghosts” and Joe and Ira Gershwin-Vernon Duke. then-20-year-old Cecil Bridgewater). and Charlie Parker’s “Red Cross”. improvised blues “Chicken Wings”. Harriott’s “Idioms”. BIRTHDAYS March 1 March 6 March 11 March 16 March 22 March 27 †Glenn Miller 1904-44 †Red Callender 1916-92 †Miff Mole 1898-1961 †Ruby Braff 1927-2003 †Fred Anderson 1929-2010 †Pee Wee Russell 1906-69 †Teddy Powell 1906-1993 †Howard McGhee 1918-87 †Mercer Ellington 1919-96 †Tommy Flanagan 1930-2001 John Houston b.1933 †Ben Webster 1909-73 †Benny Powell 1930-2010 †Wes Montgomery 1925-68 †Ike Carpenter 1920-98 Keith Rowe b.1940 †Masahiko Togashi 1940-2007 † 1924-90 Gene Perla b.1940 †Ronnie Boykins 1935-80 †Billy Mitchell 1926-2001 John Lindberg b.1959 b.1943 †Harold Ashby 1925-2003 Ralph Towner b.1940 Charles Tolliver b.1940 †Leroy Jenkins 1932-2007 Woody Witt b.1969 †Bill Barron 1927-89 Vinny Golia b.1946 Peter Brötzmann b.1941 Vince Giordano b.1952 March 23 † 1931-2007 b.1947 † 1942-2004 Judy Niemack b.1954 March 17 †Johnny Guarnieri 1917-85 Stacey Kent b.1968 b.1951 Flora Purim b.1942 †Paul Horn 1930-2014 Dave Frishberg b.1933 Dom Minasi b.1943 March 12 †Grover Mitchell 1930-2003 Dave Pike b.1938 March 28 March 2 Ayelet Rose Gottlieb b.1979 Sir Charles Thompson b.1918 †Karel Velebny 1931-89 b.1940 †Paul Whiteman 1890-1967 †Eddie “Lockjaw” Davis †Hugh Lawson 1935-97 Williams b.1948 b.1950 †Herb Hall 1907-96 JESSICA WILLIAMS 1921-86 March 7 Ned Goold b.1959 Abraham Burton b.1971 b.1973 †Thad Jones 1923-86 March 17th, 1948 † 1934-62 Alexander von Schlippenbach Peter Knight b.1965 Daniel Levin b.1974 Bill Anthony b.1930 Buell Neidlinger b.1936 b.1938 Vinson Valega b.1965 March 24 †Tete Montoliu 1933-97 In a career that began in the Bob Neloms b.1942 Herb Bushler b.1939 March 18 † 1922-81 Barry Miles b.1947 mid ‘70s with the intriguingly Wolfgang Muthspiel b.1965 March 13 †Al Hall 1915-88 Dave MacKay b.1932 b.1954 titled trio date Portal of March 8 †Dick Katz 1924-2009 †Sam Donahue 1918-74 †Kalaparusha Maurice b.1975 Antrim, pianist Jessica March 3 †George Mitchell 1899-1972 Roy Haynes b.1926 b.1951 McIntyre 1936-2013 Jen Shyu b.1978 Williams has been Ahmad †Barney Bigard 1906-80 Dick Hyman b.1927 †Blue Mitchell 1930-79 Joe Locke b.1959 Steve Kuhn b.1938 Jamal-ian in her commitment †Cliff Smalls 1918-2008 George Coleman b.1935 Michael Jefry Stevens b.1951 Paul McCandless b.1947 March 29 to working as a leader, with †Jimmy Garrison 1934-76 †Gabor Szabo 1936-82 Akira Tana b.1952 March 19 Steve LaSpina b.1954 †George Chisholm 1915-97 only a smattering of Luis Gasca b.1940 †James Williams 1951-2004 Terence Blanchard b.1962 † 1917-86 Renee Rosnes b.1962 †Pearl Bailey 1918-90 sideperson appearances Biggi Vinkeloe b.1956 Shoko Nagai b.1971 †Lennie Tristano 1919-78 Dave Douglas b.1963 Allen Botschinsky b.1940 among her over 90 albums March 4 Anat Fort b.1970 Bill Henderson b.1930 Joe Fiedler b.1965 †Michael Brecker 1949-2007 for labels like Adelphi, Clean Don Rendell b.1926 March 14 Mike Longo b.1939 Cuts, Jazz Focus, Landmark †Cy Touff 1927-2003 March 9 †Joe Mooney 1911-75 David Schnitter b.1948 March 25 March 30 Fantasy, Concord, Timeless, †Barney Wilen 1937-96 Ornette Coleman b.1930 †Les Brown 1912-2001 Chris Brubeck b.1952 Cecil Taylor b.1929 †Ted Heath 1900-69 Blackhawk, Candid, Hep, David Darling b.1941 Keely Smith b.1932 †Sonny Cohn 1925-2006 Michele Rosewoman b.1953 †Paul Motian 1931-2011 Lanny Morgan b.1934 MAXJAZZ, Origin Arts and Jan Garbarek b.1947 Kali Z. Fasteau b.1947 Mark Murphy b.1932 b.1960 †Larry Gales 1936-95 Karl Berger b.1935 her own Red and Blue Kermit Driscoll b.1956 b.1951 †Shirley Scott 1934-2002 †Lonnie Hillyer 1940-85 b.1947 Recordings. Her standard Albert Pinton b.1962 †Thomas Chapin 1957-1998 Dred Scott b.1964 March 20 Makoto Ozone b.1961 Dave Stryker b.1957 format is solo but she has a Dana Leong b.1980 Erica von Kleist b.1982 †Marian McPartland 1920-2013 Frank Gratkowski b.1963 number of trio dates and March 15 †Sonny Russo 1929-2013 March 26 Dan Peck b.1983 typically plays originals from March 5 March 10 †Jimmy McPartland 1907-91 b.1936 †Abe Bolar 1908-2000 her voluminous catalogue of †Gene Rodgers 1910-87 †Bix Beiderbecke 1903-31 †Spencer Clark 1908-1998 Jon Christensen b.1943 †Flip Phillips 1915-2001 March 31 compositions. Her albums †Bill Pemberton 1918-84 †Pete Clarke 1911-75 †Harry James 1916-83 †Andy Hamilton 1918-2012 †Santo “Mr. Tailgate” Pecora range from straightahead †Dave Burns 1924-2009 †Don Abney 1923-2000 Bob Wilber b.1928 March 21 † 1924-73 1902-84 music and tributes † 1928-2001 Louis Moholo-Moholo b.1940 Charles Lloyd b.1938 †Hank D’Amico 1915-65 †James Moody 1925-2010 †Red Norvo 1908-99 to jazz legends to more †Wilbur Little 1928-87 Mino Cinelu b.1957 Marty Sheller b.1940 Mike Westbrook b.1936 Maurice Simon b.1929 †Freddie Green 1911-87 experimental approaches †Pee Wee Moore 1928-2009 Bill Gerhardt b.1962 Joachim Kühn b.1944 Herbert Joos b.1940 Lew Tabackin b.1940 †Jimmy Vass 1937-2006 that include keyboards. (AH) b.1964 Ofer Assaf b.1976 Anne Mette Iversen b.1972 b.1942 Hiromi b.1979 Christian Scott b.1983 CROSSWORD

1 2 3 4 5 6 7 ACROSS DOWN

8 9 1. Jamey Aebersold children’s instruction ser. 1. Loc. of many jazz clubs 4. “_____ So Sad and Lonely” 2. Female dedicatee on 8. French trumpeter Miguel Vic Juris’ Roadsong 10 11 12 9. 1986 album by 3 Down 3. The Dark Magus 10. Pianist Waldron 4. Ethn. of 22 Down 13 14 11. Jazz West Coast compilation 5. Pianist who led Wingspan Jazz Pianists ______6. Danish imprint 15 16 13. Companion to Enrico Rava’s The Stars 7. Harmonica player Olivier Ker 15. Arranger Nistico 11. Evans or Coggins

17 18 19 16. Guitarist Kawasaki and pianist Fukui 12. Later EmArcy catalogue prefixes 17. Danish bassist Vinding 14. Billy Strayhorn’s favorite flower? 19. Anzic head Oded ___-Ari 17. Opposite of min. 20 21 22 23 20. Peter Brötzmann’s recent vibraphone foil 18. Finish this lyric from Alan Brandt- 24. Brazilian pianist Santos Neto Bob Haymes’ “That’s All”: 24 25 25. Brit. improvising large ens. “Say it’s me that you’ll _____” 26. Late ‘60s agitating Herbie Hancock 19. “Cowardly” pianist Genovese?

26 27 composition 21. Love, Devotion, Surrender’s 27. Leni Stern’s record label “Let us Go ____ The House of the Lord” 28. Kenichiro Nishihara jazz electronica project 22. Saxophonist Emanuele 28 29 29. Ernst-Ludwig Petrowsky album 23. Tzadik tzadik ___ Nachmittag In Peitz By Andrey Henkin visit nycjazzrecord.com for answers THE NEW YORK CITY JAZZ RECORD | MARCH 2015 41 CALENDAR

Sunday, March 1 • NYU Jazz Orchestra Drom 10 pm êBuster Williams Quartet with Bruce Williams, Eric Reed, Carl Allen • Spike Wilner Trio; Kyle Poole and Friends Smoke 7, 9, 10:30 pm $38 êJimmy Heath Big Band with Charles Davis, Bobby LaVell, Antonio Hart, Mark Gross, Smalls 7:30 pm 12:30 am $20 êFred Hersch Trio with John Hébert, Eric McPherson Gary Smulyan, Frank Greene, Michael Mossman, Diego Urcola, Greg Gisbert, • Saul Rubin Fat Cat 7 pm Flushing Town Hall 7:30 pm Steve Davis, John Mosca, Jason Jackson, Douglas Purviance, Jeb Patton, David Wong, • Marianne Solivan Antibes Bistro 7:30 pm êNed Rothenberg/Phillip Johnston; The Spokes: Andy Biskin, Curtis Hasselbring, Evan Sherman Blue Note 8, 10:30 pm $35 • Tantshoyz: Steve Weintraub and Amy Zakar’s Fidl Kapelye Phillip Johnston The Stone 8, 10 pm $15 êThe Big Band Sound of Rufus Reid with Steve Allee, Vic Juris, Chris Beck, Stephen Wise Free Synagogue 7:30 pm $15 êSteve Coleman and Five Elements with Jonathan Finlayson, Anthony Tidd, Charenee Wade, Jon Irabagon, Jason Curry, Scott Robinson, Tom Christensen, • Der Wawawa: Ben Licks, Matthew Taylor, Tim Berkman; Odd Steinar Albrigtsen Quartet Sean Rickman, Marcus Gilmore The Jazz Gallery 8, 10 pm $30 Carl Maraghi, Tanya Darby, Freddie Hendrix, Tim Hagans, Scott Wendholt, with Gianni Gagliardi, Lars Ekman, Jesse Simpson êJohn O’Gallagher Trio with Johannes Weidenmuller, Mark Ferber Ryan Keberle, Marshall Gilkes, , Luis Bonilla, , Vincent Chancey Somethin’ Jazz Club 7, 9 pm $12 Greenwich House Music School 8 pm $15 Jazz Standard 7:30, 10 pm $30 • Akemi Yamada Trio Tomi Jazz 8 pm êThe Incredible Jazz Guitar of Wes Montgomery: Calvin Keys, Yotam Silberstein, êDexter Gordon Legacy Ensemble: , Gerald Cannon, Lewis Nash, • Patrick Sargent Trio The Garage 7 pm Brian Charette Dizzy’s Club 7:30, 9:30 pm $40 Joe Locke, Abraham Burton, Craig Handy • Ray Gallon Measure 8 pm • David Meader Trio Dizzy’s Club 11:30 pm $10 Dizzy’s Club 7:30, 9:30 pm $40 • Terence Nolan Silvana 6 pm • Andrew Schiller Quartet with Drew Williams, Danny Gouker, Deric Dickens; • Robert Glasper Trio with Vicente Archer, • Lee Marvin Band Shrine 6 pm Dialogues: Warren Smith/Edith Lettner Village Vanguard 8:30, 10:30 pm $30 êTed Daniel with , Marvin Sewell, Joseph Daley ShapeShifter Lab 8:15, 9:30 pm $10 • The New York Standards Quartet: Tim Armacost, David Berkman, Ray Drummond, Rendall Memorial Presbyterian Church 12, 1 pm $15 • Edmar Castañeda Trio with Shlomi Cohen, Dave Silliman and guest Andrea Tierra Gene Jackson and guest Steve Wilson Zankel Hall 9:30 pm $44-52 Smoke 7, 9, 10:30 pm $38 Wednesday, March 4 • Sean Smith/David Hazeltine Knickerbocker Bar and Grill 9:45 pm $5 • WIS Vibes: Alva Nelson, Eli Fountain, Leon Dorsey, Warren Smith êAlex Skolnick Trio Spectrum 8:30 pm The Stone 8, 10 pm $15 êJames Falzone’s Renga Ensemble with Ken Vandermark, Ned Rothenberg, • Bigg Dipper: Jon Irabagon, Noah Haidu, Peter Brendler; Marko Djordjevic’s Sveti with • ’s Jasssz Band Brooklyn Bowl 7 pm $15 Keefe Jackson, Ben Goldberg, Jason Stein Julian Pollack, Pablo Menares WhyNot Jazz Room 9, 11 pm $10 • Teri Roiger Caffe Vivaldi 8 pm Roulette 8 pm $20 • Svetlana Shmulyian and The Delancey Five with Adrian Cunningham, • Jeremy Dutton’s Our Spirits Are Free with Nir Felder, James Francies, Adam O’Farrill, • 30th Annual Bistro Awards with Carole Fredette, Marissa Mulder, Gabrielle Stravelli, Charlie Caranicas, Ben Patterson, George Delancey, Rob Garcia and guest Matt Penman Iridium 8 pm $20 Jon Weber Gotham Comedy Club 6:30 pm Wycliffe Gordon Jazz at Kitano 8, 10 pm $30 • Sonic Calligraphy: Jason Kao Hwang, Peggy Chew, Adrian Frey • Anat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman and guests • Antonio Ciacca Measure 8 pm WhyNot Jazz Room 7 pm $10 Jazz Standard 7:30, 10 pm $30 • Ralph Lalama’s Bop-Juice with David Wong, Clifford Barbaro; Alex Norris Quartet with • Split Cycle: Samuel Blais, Aki Ishiguro, Nicolas Letman-Burtinovic, Jeff Davis êPhillip Johnston/Edward Johnson; Phillip Johnston’s New Big Trouble with Joe Fiedler, Troy Roberts, Pat Bianchi, Brian Floody Cornelia Street Café 8:30 pm $10 Mike Hashim, Neal Kirkwood, , Rob Garcia Smalls 7:30, 10:30 pm $20 • Jonathan Moritz, Ben Gerstein, Sean Ali, Flin van Hemmen; Sara Schoenbeck, The Stone 8, 10 pm $15 • Jared Gold/Dave Gibson Fat Cat 10:30 pm Clara Weiss, Andrew Drury, Joshue Ott; Ron Stabinsky/Brandon Seabrook • Jay Clayton Vocal Night with Greta Kohan, Suzanne Lorge, Rosie Steinberg, • Paul Jones Quartet and The Snap Saxophone Quartet with Phil Markowitz, The Firehouse Space 7, 8, 9:30 $10 Elaine Suben, Kevin Clark, Yoshi Waki Yasushi Nakamura, Sam Dillon, Nicholas Biello, Andrew Gould, Jake Robinson • Leni Stern Trio with Alioune Faye, Mamadou Ba WhyNot Jazz Room 7 pm $10 Cornelia Street Café 9, 10:30 pm $10 Barbès 7 pm $10 • Eric Alexander Quartet with Harold Mabern, John Webber, Joe Farnsworth • Rick Stone Trio with Harvie S, Joe Strasser êPeter Leitch/Jed Levy Walker’s 8 pm An Beal Bocht Café 8, 9:30 pm $15 Bar Next Door 7:30, 9:30, 11:30 pm $12 êBrandee Younger Quartet with Rashaan Carter, E.J. Strickland, Chelsea Baratz • Joanna Pascale with Jim Ridl, Luques Curtis, Donald Edwards • Petros Klampanis Group Neighborhood Church of Greenwich Village 8, 10 pm Minton’s 5;30, 7, 8:30 pm $10-20 Smoke 7, 9, 10:30 pm $9 • BEWAA: Brittany Anjou, Mara Rosenbloom, Sean Dixon, Leon Boykins; • Marco Di Gennaro Measure 8 pm • Jeff Davis’ Mountains Mountains Water with Tony Malaby, Eivind Opsvik, Michael Eaton Quartet with Brad Whiteley, Daniel Ori, Shareef Taher • Terry Waldo’s Gotham City Band; Jade Synstelien’s Fat Cat Big Band; Jonathan Goldberger Cornelia Street Café 8:30 pm $10 The Firehouse Space 8, 9 pm $10 Brandon Lewis/Renee Cruz Jam Fat Cat 6, 8:30 pm 1 am • Ehud Asherie Trio with David Wong, Aaron Kimmel • Marianne Solivan The Astor Room 7 pm • Yoonmi Choi’s 7 Days with Tyler Luppi, Samvel Sarkisyan Jazz at Kitano 8, 10 pm $15 • Rachel Therrien/Tuomo Uusitalo; Andrew McCormack; Adebayo Fayemi Group with WhyNot Jazz Room 9 pm $10 • Bollide: Mat Maneri, Russ Lossing, Ed Schuller, Pete Davenport, Chris Bacas; Alfredo Colon, Elisee Augustin, Juan Bowers, Giacomo Tagliavia, Justin Henry • Will Bollinger solo; Stan Nishimura, Evan Gallagher, Blaise Siwula, Claire de Brunner Matt Garrison Jam Session ShapeShifter Lab 7, 9:30 pm $10 Somethin’ Jazz Club 7, 9, 11 pm $12 ABC No-Rio 7 pm $5 • Willerm Delisfort Sextet with Milton Suggs, Josh Evans, Stacy Dillard, Ameen Saleem, • Shin Sakaino Trio Tomi Jazz 9 pm $10 • Kali Rodriguez Pena Quintet with Kaz George, Axel Tosca, Nick Dunston, Zack O’Farrill; Jeremy “Bean” Clemons Minton’s 7, 8:30, 10 pm $15-25 • Masami Ishikawa Trio Cleopatra’s Needle 8 pm RT9 Ensemble: Madeleine Jansen, Cheho Lam, Amy Bateman, Molly Aronson, • Theo Hill; Groover Trio; Ned Goold Jam • Sigmar Matthiasson; Kathleen Potton Kyungmi Nam; Vadim Neselovskyi Agricultural Dreams Trio with Dan Loomis, Fat Cat 7, 9 pm 12:30 am Silvana 6, 8 pm Ronen Itzik Somethin’ Jazz Club 5, 7, 9 pm $12 • Curriculum Quartet: Will McEvoy, Josh Sinton, Ryan Snow, Max Goldman • Evgeny Sivtsov Trio; Kevin Dorn and the BIG 72 • Trample Man: Broc Hempel, Sam Trapchak, Christian Coleman with guest Kyle Nasser Rye 9 pm $10 The Garage 6, 10:30 pm Dominie’s Astoria 9 pm • Roger Davidson Caffe Vivaldi 7:15 pm • Anat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman and guests • Patrick Brennan/Daniel Carter; François Grillot, Stefanie Griffin, Enrique Haneine, • Queens Jazz OverGround Jazz Jam Jazz Standard 7:30, 10, 11:30 pm $30 Jake Sakolov Downtown Music Gallery 6, 7 pm Flushing Town Hall 7 pm $10 êAlbert “Tootie” Heath, Ethan Iverson, Ben Street • Lesedi Ntsana’s Azanian Pulse Silvana 6 pm • Split Cycle: Nicolas Letman-Burtinovic, Sam Blais, Akira Ishiguro Village Vanguard 8:30, 10:30 pm $30 • Eastman Jazz Ensemble with Dave Glasser Bar Chord 9 pm • Quartet Blue Note 8, 10:30 pm $35 Saint Peter’s 5 pm • Alessandro Fadini; Eugene Marlow’s Heritage Ensemble with Bobby Sanabria, • /Bill Evans Band with Tom Kennedy, Steve Smith • Camille Thurman Quartet with David Bryant, , Darrell Green; Michael Hashim, Frank Wagner, Matthew Gonzales; Jeff Gardner Trio with Gary Wang, Birdland 8:30, 11 pm $40 Kersten Stevens Abyssinian Baptist Church 4 pm $20 Anthony Pinciotti Somethin’ Jazz Club 7, 9, 11 pm $12-15 • Eyes of the Masters: Albert “Tootie” Heath with Ethan Iverson • Vivian Sessoms Emmanuel Baptist Church 3 pm $20 • Akihiro Yamamoto Duo Tomi Jazz 8 pm New School Arnhold Hall 4 pm • Joe Alterman Trio Blue Note 11:30 am 1:30 pm $35 • Yvonnick Prene Quartet The Garage 7 pm • Christopher McBride and The Whole Proof with Victor Gould, Noah Jackson, êAlbert “Tootie” Heath, Ethan Iverson, Ben Street Bryan Carter Minton’s 12, 1:30, 3 pm $10 Village Vanguard 8:30, 10:30 pm $30 • Kelsey Jillette Trio with Pedro Rodriguez, David Silliman • Ron Carter Quartet Blue Note 8, 10:30 pm $35 North Square Lounge 12:30, 2 pm • Mike Stern/Bill Evans Band with Tom Kennedy, Steve Smith • Jolie Môme Band Rainbow Room 12:30 pm $95 Birdland 8:30, 11 pm $40 • Alon Nechustan City Winery 11 am $10 êCyrus Chestnut Trio Dizzy’s Club 7:30, 9:30 pm $35 • David Coss Quartet The Garage 11:30 am 7 pm • David Meader Trio Dizzy’s Club 11:30 pm $5 • Ray Gallon Measure 8 pm Monday, March 2 • Nick Grinder Group Silvana 6 pm • Alex Bryson Quartet Shrine 6 pm êPhilm: Dave Lombardo, Gerry Nestler, Pancho Tomaselli êJunior Mance Trio Saint Peter’s 1 pm $10 The Stone 8, 10 pm $20 • BANN: Seamus Blake, , Oz Noy, Thursday, March 5 Blue Note 8, 10:30 pm $15 êMingus Big Band Jazz Standard 7:30, 10 pm $25 êChristian Wolff at 80: Joey Baron, Vincent Chancey, Thomas Morgan, Nate Wooley êOrrin Evans Captain Black Big Band Robyn Schulkowsky Roulette 8 pm $30 Smoke 7, 9 pm $9 êGuy Klucevsek/Phillip Johnston; The Microscopic Septet: Phillip Johnston, Don Davis, • Tribute to Billy Strayhorn: Eastman Jazz Ensemble with Dave Glasser Mike Hashim, Dave Sewelson, Joel Forrester, David Hofstra, Richard Dworkin Dizzy’s Club 7:30, 9:30 pm $35 The Stone 8, 10 pm $15 • Rob Brown Quartet with Kenny Warren, Peter Bitenc, Juan Pablo Carletti; êDKRWAV: John Medeski, Skerik, Adam Deitch Ravenact: Tara Art/Liz Kosack Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 Brooklyn Bowl 9 pm $20 • Kwami Coleman and The Future Present with Vicente Archer, Marcus Gilmore, êBob Stewart Double Quartet Ginny’s Supper Club 7 pm $95 J. Mitchell Minton’s 7, 8:30, 10 pm $10-20 êRyan Keberle’s Catharsis with Scott Robinson, Jorge Roeder, Eric Doob • Jocelyn Medina Trio with Jesse Lewis, Todd Isler Cornelia Street Café 8:30 pm $10 Bar Next Door 8:30, 10:30 pm $12 êJon Irabagon/Dan Blake; Artemisz Polonyi, Lorena Del Mar Hernandez, Lester St. Louis, • Ray Gallon Measure 8 pm Dre Hoceyar, Alex Vourtsanis, Gabriel Zucker • Neal Kirkwood Quartet with Jimmy Cozier, Lindsey Horner, Lieven Venken; The Firehouse Space 8, 9 pm $10 Marvin Dolly String Trio with Leonor Pasquali, Georgia Weber; • Ayako Shirasaki Trio with Noriko Ueda, Lewis Nash Schapiro 17: Bryan Davis, Andy Gravish, Tom Goehring, Noyes Bartholomew, Jazz at Kitano 8, 10 pm $15 Deborah Weisz, Darius C. Jones, Nick Grinder, Walter Harris, Rob Wilkerson, • Cynthia Holiday Smoke 7, 9, 10:30 pm $9 Candace DeBartolo, Dan Pratt, Rob Middleton, Tim Stocker, Roberta Piket, • Wayne Wilentz Sextet with Nanny Assis, Lyle Link, David Jernigan, Vanderlei Pereira, Sebastian Noelle, David Ambrosio, Chris Benham Thomaz DeCastro Iridium 8:30, 10:30 pm $20 Somethin’ Jazz Club 7, 9, 11 pm $12-15 • Gregorio Uribe Big Band Zinc Bar 9, 10:30 pm • Marla Sampson Duo Tomi Jazz 8 pm • Theo Hill Trio with Yasushi Nakamura, Rodney Green • Lance Zitron Society Trio Le Cirque Café 7:30 pm The Jazz Gallery 8, 10 pm $15 • Nathan Hook; John Suntken Quartet • Samir Zarif Trio with Hans Glawischnig, Eric Doob Silvana 6, 8 pm Bar Next Door 8:30, 10:30 pm $12 • Howard Williams Jazz Orchestra The Garage 7 pm • Beat Kaestli’s Collage with Jesse Lewis, Will Holshouser, Gary Wang, Fred Kennedy Dweck Center at Brooklyn Public Library Ctr. Branch 7 pm Tuesday, March 3 • The Flail; Saul Rubin Zebtet Fat Cat 7, 10 pm • Petr Cancura Music in Black and White êKeith Jarrett solo Stern Auditorium 8 pm $45-110 Barbès 8 pm $10 êAlbert “Tootie” Heath, Ethan Iverson, Ben Street • Albert Marques, Walter Stinson, Zack O’Farrill Village Vanguard 8:30, 10:30 pm $30 Caffe Vivaldi 9 pm • Ron Carter Quartet Blue Note 8, 10:30 pm $35 • Mark Wade Trio with Tim Harrison, Scott Neumann; JP Jofre; Luz Pinos • Mike Stern/Bill Evans Band with Tom Kennedy, Steve Smith Somethin’ Jazz Club 7, 9, 11 pm $12 Birdland 8:30, 11 pm $40 • Greg Merritt Trio Tomi Jazz 9 pm $10 êCyrus Chestnut Trio Dizzy’s Club 7:30, 9:30 pm $35 • Larry Newcomb Trio Cleopatra’s Needle 7 pm • David Meader Trio Dizzy’s Club 11:30 pm $5 • Champian Fulton Quartet The Garage 7 pm êDuchess: Amy Cervini, Hilary Gardner, Melissa Stylianou with Jeff Lederer, • Anat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman and guests Michael Cabe, Jesse Lewis, Paul Sikivie, Matt Wilson Jazz Standard 7:30, 10 pm $30 Jazz Standard 7:30, 10 pm $25 êAlbert “Tootie” Heath, Ethan Iverson, Ben Street • Lenore Raphael NYC Baha’i Center 8, 9:30 pm $15 Village Vanguard 8:30, 10:30 pm $30 êPhillip Johnston solo; Phillip Johnston’s Idea with David Hofstra, Joe Gallant, • Ron Carter Quartet Blue Note 8, 10:30 pm $35 Richard Dworkin and guests The Stone 8, 10 pm $15 • Mike Stern/Bill Evans Band with Tom Kennedy, Steve Smith • Johnny O’Neal Trio with Luke Sellick, Charles Goold Birdland 8:30, 11 pm $40 Minton’s 7, 8:30, 10 pm $10-20 êCyrus Chestnut Trio Dizzy’s Club 7:30, 9:30 pm $35 êJames Carney Quartet with Ralph Alessi, ; Roberto Gatto Quartet with • David Meader Trio Dizzy’s Club 11:30 pm $10 Michael Blake, Nir Felder, Scott Colberg • Ray Gallon Measure 8 pm Korzo 9, 10:30 pm • Bruce Harris Sextet with Andy Farber, Grant Stewart, Michael Weiss, • Alexis Cuadrado Trio with Steve Cardenas, Jordan Perlson Yasushi Nakumara, Pete Van Nostrand Barbès 7 pm $10 Minton’s 6 pm $10-20 • Syberen van Munster’s Plunge with Ben van Gelder, Vitor Gonçalves, Martin Nevin, Mark Schilders Cornelia Street Café 8:30 pm $10 Friday, March 6 • Itai Kriss Trio with Petros Klampanis, Charles Ruggierio Bar Next Door 8:30, 10:30 pm $12 êSalute to Betty Carter: Charenee Wade, Alvester Garnett, Craig Handy, Jacky Terrasson, • Lady Got Chops: Noël Simoné Wippler Band of Friends with Iris Ornig, Sanah Kadoura, Stephen Scott, Michael Bowie, , Winard Harper, Alexandria Brinae Bradley, Lessie Vonner, Brianne Ford Harlem On 5th Restaurant 9 pm Frances Monique Bradley, Michela Marino Lerman • Yoonmi Choi Trio with Tyer Luppi, Jonathan Barber; Sergej Avanesov Trio with The Appel Room 7, 9:30 pm $45-55 Tyler Luppi, Brevan Hampden ShapeShifter Lab 7, 8:15 pm $10

42 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD Saturday, March 7 • Michael Sachs/Michael Buishas; Double Double: Patrick Breiner, Adam Hopkins, Thursday, March 12 Will McEvoy, Flin van Hemmen Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 êVijay Iyer Trio with Stephan Crump, Marcus Gilmore • Janice Friedman Trio; Ari Hoenig Quartet with Tivon Pennicott, Jean-Michel Pilc, êCelebrating The 80th Anniversary Of The Village Vanguard—Comedy: Jason Moran Metropolitan Museum of Art Temple of Dendur 8 pm $40 Scott Colley; Jonathan Michel Smalls 7:30, 10:30 pm 1 am $20 and Bandwagon with Taurus Mateen, Nasheet Waits and guests Marina Franklin, êInventions Trio: Bill Mays, Marvin Stamm, Alisa Horn • Ned Goold Quartet; Billy Kaye Jam Fat Cat 9 pm 12:30 am Keith Robinson, Village Vanguard 8:30, 10:30 pm $30 Jazz at Kitano 8, 10 pm $30 • Antonio Ciacca’s Cheek to Cheek Double Quartet êLatin on Lex: Eddie Palmieri Afro-Caribbean Jazz Octet with Donald Harrison, • Microscopic Saxophone Quartet and Friends; Pat Irwin, Phillip Johnston, Ed Tomney Measure 8 pm Steve Davis, Luques Curtis, Vincente “Little Johnny” Rivero, Anthony Carillo, The Stone 8, 10 pm $15 • Ark Ovrutski Quintet with Michael Thomas, Benny Benack III, Emmet Cohen, Camilo Molina, Brian Lynch 92nd Street Y 8 pm $35 êGeorge Garzone/Mike Mainieri Cornelia Street Café 9, 10:30 pm $10 Jonathan Barber Zinc Bar 9 pm êSteve Kuhn Trio with Buster Williams, Joey Baron êAaron Diehl Quartet with Warren Wolf, Peter Washington, Pete Van Nostrand • Abe Ovadia Quartet with Anthony Pocetti, Michael Feinberg, Jarrett Walser Jazz Standard 7:30, 10 pm $30 Miller Theatre 8 pm $20-30 WhyNot Jazz Room 9 pm $10 êSylvie Courvoisier/Mark Feldman New Quartet with Scott Colley, Billy Mintz êBrooklyn Jazz Wide Open: Joe Lovano and John Hébert with WORKS: Michel Gentile, • The Magic Trio: Chris McNulty, Paul Bollenback, Ugonna Okegwo The Stone 8, 10 pm $15 Daniel Kelly, Rob Garcia Brooklyn Conservatory of Music 8 pm $10 Bar Next Door 8:30, 10:30 pm $12 êHarris Eisenstadt’s Golden State with Marty Ehrlich, Sara Schoenbeck, Elvind Opsvik • Lakecia Benjamin and Soul Squad Ginny’s Supper Club 7:30, 9:30 pm $15 • Martin Reuter Band with Sergey Marchenko, Arthur Sadowsky, Anthony Pocetti Cornelia Street Café 8:30 pm $10 • Maryanne de Prophetis Trio with Ron Horton, Frank Kimbrough; Ron Horton Sextet ShapeShifter Lab 7:30 pm $8 • Brandee Younger’s Prophetika with Mia Theodoratus, Courtney Bryan with John O’Gallagher, Marc Mommaas, Frank Kimbrough, Dean Johnson, Tim Horner • Chase Baird; Antonello Parisi Quartet with Livio Almeida, Bryan Campbell, Greenwich House Music School 8 pm $10 and guest Maryanne de Prophetis Ibeam Brooklyn 8:30, 9:30 pm $15 Michael Gam, Zack O’Farrill Somethin’ Jazz Club 7, 9 pm $12 • Gregory Generet with Orrin Evans, Gerald Cannon, Willie Jones III • Ray Parker Quartet; Raphael D’lugoff Quintet; Greg Glassman Jam • Matt Panayides Trio Tomi Jazz 8 pm Dizzy’s Club 7:30, 9:30 pm $30 Fat Cat 7, 10 pm 1:30 am • Danny Bacher Le Cirque Café 7:30 pm • Steven Feifke Septet Dizzy’s Club 11:30 pm $10 • Leo Genovese and Legal Aliens with Dan Blake, Uri Gurvich, Entcho Torodov, • New York Youth Symphony Big Band • Michael Foster/Ben Bennett; Isabelle Duthoit/Franz Hautzinger Mariano Gil, Aleks Petrov, Francesco Marcocci, Max Siegel, Agustin Uriburu, The Garage 7 pm Soup & Sound 7 pm $15 Jack Daniel, Vasko Dukovski Nublu 10 pm • Alexis Cole Smoke 7, 9, 10:30 pm $9 • Dave Pietro Trio with Jay Anderson, Tony Moreno Tuesday, March 10 • Patrick Brennan’s Transparency Kestra with Angelo Branford, Gene Coleman, Bar Next Door 7:30, 9:30, 11:30 pm $12 , Haruna Fukazawa, Hilliard Greene, Stephanie Griffin, Brian Groder, • Brooklyn Aliens: Gianni Gagliardi, Tobias Meinhart, Yago Vazquez, Lars Ekman, êCelebrating The 80th Anniversary Of The Village Vanguard—Solo Piano: Kenny Barron, Thomas Heberer, Patrick Holmes, Jason Kao Hwang, Yasuno Katsuki, Richard Keene, Rodrigo Recabarren WhyNot Jazz Room 10:30 pm $12 , Fred Hersch, Ethan Iverson, Jason Moran Christof Knoche, David Sidman, Warren Smith, Harvey Valdes, Rod Williams • Awa Sangho Sistas’ Place 9, 10:30 pm $20 Village Vanguard 8:30, 10:30 pm $30 ShapeShifter Lab 8 pm $8 • Taka Kigwa; Transient Canvas: Amy Advocat/Matt Sharrock êDee Dee Bridgewater Blue Note 8, 10:30 pm $45 • Marta Sanchez Quintet with Jerome Sabbagh, Roman Filiu, Jason Burger The Firehouse Space 8, 9 pm $10 êLady Got Chops: Bertha Hope Trio Harlem On 5th Restaurant 9 pm The Jazz Gallery 8, 10 pm $15 • New York Jazz Academy Big Band; Nathan Bellott Quartet; Valentina Marino; • /Lani Hall Café Carlyle 8:45 pm $45-135 • Joe Saylor and Friends Ginny’s Supper Club 8 pm $10 Brothers of Contrapuntal Swing: Jimmy Halperin, Larry Meyer, Dave Frank, êMALPHAS: Sylvie Courvoisier/Mark Feldman; Sylvie Courvoisier/Marc Ribot • Anke Helfrich Quartet with Tim Hagans, Martin Wind, Jonas Burgwinkel Bill McCrossen, George Hooks; Fo/mo/deep: Dr. Keith Newton, Josh Boyd, The Stone 8, 10 pm $15 Jazz at Kitano 8, 10 pm $15 Ron Holmes, Andre Scott Somethin’ Jazz Club 2, 5, 7, 9, 11 pm $12 êEdward Simon Ensemble Venezuela with Edmar Castañeda, John Ellis, • Sheryl Bailey 3 55Bar 7 pm • Misa Ogasawara Duo; Dana Reedy Trio Elena Pinderhughes, Roberto Koch, Adam Cruz, Luis Quintero • Joel Forrester Trio with David Hofstra, Matthew Garrity Tomi Jazz 8, 11 pm $10 Jazz Standard 7:30, 10 pm $30 Cleopatra’s Needle 7 pm • Lluis Capdevila Trio Cleopatra’s Needle 8 pm • Kevin Mahogany with Craig Handy, Helen Sung, Marco Panascia, • Jesse Harris Star Rover Trio Russ & Daughters Café 8 pm • Sivan Arbel; Edith Lettner’s Voyagers Birdland 8:30, 11 pm $40 • Andrew Gutauskas Trio with Dave Baron, Luca Santiniello Silvana 6, 8 pm • Anton Schwartz Quintet with Scott Wendholt, Danny Grissett, Ugonna Okegwo, Bar Next Door 8:30, 10:30 pm $12 êSalute to Betty Carter: Charenee Wade, Alvester Garnett, Craig Handy, Jacky Terrasson, Lorca Hart Dizzy’s Club 7:30, 9:30 pm $30 • Greg Glassman Quintet Fat Cat 10 pm Stephen Scott, Michael Bowie, Curtis Lundy, Winard Harper, Alexandria Brinae Bradley, • Steven Feifke Septet Dizzy’s Club 11:30 pm $5 • David Kardas; Elmar Brass Trio with Andrea Veneziani, Jesse Simpson; Frances Monique Bradley, Michela Marino Lerman • Mike Longo Trio NYC Baha’i Center 8, 9:30 pm $15 Jacob Varmus/Leonard Thompson Somethin’ Jazz Club 7, 9, 11 pm $12 The Appel Room 7, 9:30 pm $45-55 êIsabelle Duthoit/Franz Hautzinger JACK 8 pm $10 • Scot Albertson Trio with Tom Beckham, Eddy Khaimovich êBuster Williams Quartet with Bruce Williams, Eric Reed, Carl Allen • Melanie JB Charles with Axel Tosca Laugart, Jonathan Michel, David Frazier, Tomi Jazz 9 pm $10 Smoke 7, 9, 10:30 pm $38 Tivon Pennicott and guests Minton’s 7, 8:30, 10 pm $10-20 • Albert Marques, Walter Stinson, Zack O’Farrill êSteve Coleman and Five Elements with Jonathan Finlayson, Miles Okazaki, • Douglas Bradford’s The Longest Day Of The Year with Patrick Breiner, Caffe Vivaldi 9 pm Anthony Tidd, Sean Rickman The Jazz Gallery 8, 10 pm $30 Christopher Hoffman, Nick Anderson; Stephan Crump’s Rhombal with , • Steve Piccataggio Trio The Garage 7 pm êThe Incredible Jazz Guitar of Wes Montgomery: Calvin Keys, Yotam Silberstein, Adam O’Farrill, E.J. Strickland Korzo 9, 10:30 pm • Will Vinson Band with Gilad Hekselman, , Rick Rosato, ; Brian Charette Dizzy’s Club 7:30, 9:30 pm $45 • (718): Matthew Fries, Phil Palombi, Eric Halvorson Nick Hempton Band with Tadataka Unno, Dave Baron, Dan Aran • David Meader Trio Dizzy’s Club 11:30 pm $20 ShapeShifter Lab 8:15, 9:30 pm $10 Smalls 9:30 pm 12 am $20 • Sean Smith/David Hazeltine Knickerbocker Bar and Grill 9:45 pm $5 • Spike Wilner Trio; Kyle Poole and Friends êDee Dee Bridgewater Blue Note 8, 10:30 pm $45 • Antonio Ciacca Measure 8 pm Smalls 7:30 pm 12:30 am $20 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $45-135 • Alex Norris Organ Quartet with Troy Roberts, Pat Bianchi, Brian Floody; • Saul Rubin; Peter Brainin; Latin Jazz Workshop • Kevin Mahogany with Craig Handy, Helen Sung, Marco Panascia, Victor Lewis Eric Wyatt Quartet with Benito Gonzalez, Essiet Essiet, Jonathan Barber Fat Cat 7, 9 pm Birdland 8:30, 11 pm $40 Smalls 10:30 pm 1:30 am $20 • Stan Killian Quartet with Benito Gonzalez, Corcoran Holt, McClenty Hunter • Antonio Ciacca’s Cheek to Cheek Double Quartet • Anat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman and guests 55Bar 7 pm Measure 8 pm Jazz Standard 7:30, 10, 11:30 pm $30 • Klezmerfest!: Greg Wall, Jordan Hirsch, Zev Zions, Brian Glassman, Aaron Alexander êCharenee Wade Septet with Brandon McCune, , Alvester Garnett, êAlbert “Tootie” Heath, Ethan Iverson, Ben Street Stephen Wise Free Synagogue 7:30 pm $15 Nikara Warren, Lakecia Benjamin, Dave Stryker Village Vanguard 8:30, 10:30 pm $30 • Michel Reis Quartet with Aaron Kruziki, Eddy Khaimovich, Jonas Burgwinkel Minton’s 6 pm $10-20 • Ron Carter Quartet Blue Note 8, 10:30 pm $35 Cornelia Street Café 8:30 pm $10 • Scott and Eric Reeves Generations Quartet with Kenny Pexton, Phil Rowan • Mike Stern/Bill Evans Band with Tom Kennedy, Steve Smith • Jacob Deaton Trio with Spencer Murphy, Lawrence Leathers Silvana 6 pm Birdland 8:30, 11 pm $40 Bar Next Door 8:30, 10:30 pm $12 • Andrew Hartman Shrine 6 pm • Larry Newcomb Quartet; Al Marino Quartet; Hot House êDeborah Latz with Zach Brock, Ray Parker, Anthony Pinciotti; Uta Habbig Quartet with The Garage 12, 6, 10:30 pm Filipe Duarte, Devon Gillingham; Jim Donica Quartet Somethin’ Jazz Club 7, 9, 11 pm $12 Sunday, March 8 • Rob Edwards Quartet The Garage 7 pm • Antonio Ciacca’s Cheek to Cheek Double Quartet • Joe Ruddick/Phillip Johnston; Phillip Johnston Large Ensemble Measure 8 pm The Stone 8, 10 pm $15 • Sagi Kaufman Trio Silvana 6 pm êJames Brandon Lewis Trio with Max Johnson, Dominic Fragman; Chris Speed Trio with • Ronnie Burrage Rendall Memorial Presbyterian Church 12, 1 pm $15 Chris Tordini, Ben Perowsky; Musicianer: Josh Sinton, Jason Ajemian, Chad Taylor Threes Brewing 8, 9, 10 pm $15 Wednesday, March 11 êAnders Nilsson/Michaël Attias; Peter Brendler Quartet with Peter Evans, Rich Perry, Vinnie Sperrazza WhyNot Jazz Room 7, 10 pm $10 êCelebrating The 80th Anniversary Of The Village Vanguard—Poetry: Jason Moran and êPeter Leitch/Harvie S Walker’s 8 pm Bandwagon with Taurus Mateen, Nasheet Waits and guests Elizabeth Alexander, • Marianne Solivan Big Band with John Chin, Neal Caine, Chris Smith, Mike Sailor, Yusef Kumunyakaa Village Vanguard 8:30, 10:30 pm $30 Andy Gravish, Todd Bashore, Alex Terrier, Stacy Dillard, Carl Maraghi, Peter Nelson, êSylvie Courvoisier Trio with Scott Colley, Jim Black; David Gibson; The Flail: Dan Blankinship, Stephan Moutot, Brian Marsella, Reid Taylor, Sylvie Courvoisier/Taylor Ho Bynum Charles Goold Smalls 4:30, 10:30 pm $20 The Stone 8, 10 pm $15 • Alphonso Horn with Jazzmeia Horn, Chris Pattishall, Yasushi Nakamura, Sammy Miller, • Tyshawn Sorey’s KOAN II with Todd Neufeld, Mat Maneri, Ben Gerstein Patrick Bartley Minton’s 5;30, 7, 8:30 pm $10-20 Roulette 8 pm $20 • Lady Got Chops: Annette A. Aguilar Quartet êRaphael D’lugoff; Harold Mabern Trio; Ned Goold Jam Sankofa Aban Bed & Breakfast 9 pm Fat Cat 7, 9 pm 12:30 am • Marco Di Gennaro Measure 8 pm • JC Hopkins Biggish Band with Wayne Tucker, Seneca Black, Corey Wallace, • Terry Waldo’s Gotham City Band; Ark Ovrutski Quintet with Michael Thomas, Claire Daily, Julian Pressley, Patience Higgins, Troy Roberts, Noah Jackson, Benny Benack III, Emmet Cohen, Jonathan Barber; Brandon Lewis/Renee Cruz Jam Charles Goold and guest Queen Esther Fat Cat 6, 8:30 pm 1 am Minton’s 7, 8:30, 10 pm $15-25 • Gao Jiafeng/Sean Ali; Brad Farberman Ensemble • Walt Weiskopf Quartet with Peter Zak, Mike Karn, Donald Edwards ABC No-Rio 7 pm $5 Smoke 7, 9, 10:30 pm $9 • Bob Rodriguez Trio with Steve LaSpina, Matt Kane; Eric Wollman Trio with Bill Kratz, • Jazzmeia Horn with Nesedi Ntsame, Victor Gould, Eric Wheeler, Kush Abadey, Gary Weiss; Stephen Lynerd Quartet with Will Kurk, Tim Seisser, Phil Beale Alexandrea Johnson, Phantom Knoet Somethin’ Jazz Club 5, 7, 9 pm $12-15 Dizzy’s Club 7:30, 9:30 pm $30 • Trample Man: Broc Hempel, Sam Trapchak, Christian Coleman with guest Joel Frahm • Steven Feifke Septet Dizzy’s Club 11:30 pm $5 Dominie’s Astoria 9 pm • Sarah Silverman/Bruce Barth Duo Jazz at Kitano 8, 10 pm $15 • Aleksi Glick Trio with Richard Saunders • Elin Iridium 8:30 pm $20 Metropolitan Room 9:30 pm $20 êIsabelle Duthoit/Franz Hautzinger; Matt Garrison Jam Session • John Lander Trio Caffe Vivaldi 9 pm ShapeShifter Lab 7, 9:30 pm $10 NEW RELEASE: AMONG THE STARS êBuster Williams Quartet with Bruce Williams, Eric Reed, Carl Allen • Ben van Gelder Septet with Matt Brewer, Craig Weinrib, Peter Schlamb, Adam O’ Farrill, Smoke 7, 9, 10:30 pm $38 Kyle Wilson Cornelia Street Café 8:30 pm $10 êThe Incredible Jazz Guitar of Wes Montgomery: Calvin Keys, Yotam Silberstein, • Kali Z. Fasteau Glasshouse Project 8 pm Brian Charette Dizzy’s Club 7:30, 9:30 pm $35 • Arun Luthra’s Konnakol Jazz Project • Anat Cohen Quartet with Jason Lindner, Joe Martin, Daniel Freedman and guests New School Arnhold Hall 8 pm Jazz Standard 7:30, 10 pm $30 • Danny Fox Trio with Chris van Voorst van Beest, Max Goldman; Mareike Wiening Band êAlbert “Tootie” Heath, Ethan Iverson, Ben Street with Rich Perry, Alex Goodman, Angelo Di Loreto, Patricia Franceschy, Marty Kenney “A quiet delight that imperceptibly draws Village Vanguard 8:30, 10:30 pm $30 SEEDS 8:30, 10:30 pm • Ron Carter Quartet Blue Note 8, 10:30 pm $35 • Will Vinson Band with Gilad Hekselman, Aaron Parks, Rick Rosato, Clarence Penn; you in…It’s hard to imagine a more • BDM: Ben Bennett, David Grollman, Michael Foster; Omar Tamez/Angelica Sanchez Adam Larson Quintet with Matt Stevens, John Escreet, Luques Curtis, intimate and enjoyable disc.” –JAZZIZ Downtown Music Gallery 6, 7 pm Jonathan Pinson Smalls 9:30 pm 12 am $20 • David Love Trio Silvana 6 pm • Chris Clark Quartet with Perry Smith, Sam Minaie, Mark Ferber; JP Jofre; • Aaron Shragge/Ben Monder Saint Peter’s 5 pm Aron Caceres Trio with Matt Malanowski, Panagiotis Kostopoulos “Suttenfield and Romano make a lovely • Elaine Dame with Ben Patterson, , Mark Ferber Somethin’ Jazz Club 7, 9, 11 pm $12 Rainbow Room 12:30 pm $95 • Valentina Marino Duo; Terence Nolan Trio statement. Among The Stars is a real • Int’l Women’s Day: Women of the World Tomi Jazz 8, 11 pm Blue Note 11:30 am 1:30 pm $35 • Kazuki Yamanaka New York Quartet; Joe Alterman low-key charmer.” –All About Jazz • Candice Hoyes Minton’s 12, 1:30, 3 pm $10 Caffe Vivaldi 7, 8:15 pm • Roz Corral Trio with Gilad Hekselman • Diana Wayburn Ensemble; Philip Sirois Project; Dennis Shafer Project North Square Lounge 12:30, 2 pm Branded Saloon 7, 8, 9 pm $5-10 Encore CD Release Performance • Paul Shapiro Ribs & Brisket Revue City Winery 11 am $10 • The Anderson Brothers The Garage 7 pm Kelley Suttenfield with Tony Romano • Lou Caputo Quartet; David Coss Quartet • Anna Elizabeth Kendrick Flute Gramercy 7 pm The Garage 11:30 am 7 pm êDee Dee Bridgewater Blue Note 8, 10:30 pm $45 Sunday, March 15, 2015, 3pm • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $45-135 Monday, March 9 êEdward Simon Ensemble Venezuela with Edmar Castañeda, John Ellis, $20 donation includes lunch and copy of the CD Elena Pinderhughes, Roberto Koch, Adam Cruz, Luis Quintero êMingus Big Band Jazz Standard 7:30, 10 pm $25 Jazz Standard 7:30, 10 pm $30 Perez Jazz House Concert, Brooklyn, NY êOrrin Evans Captain Black Big Band • Kevin Mahogany with Craig Handy, Helen Sung, Marco Panascia, Victor Lewis Smoke 7, 9 pm $9 Birdland 8:30, 11 pm $40 RSVP/Details: [email protected] • Chihiro Yamanaka Trio with Yasushi Nakamura, Kush Abadey • Antonio Ciacca’s Cheek to Cheek Double Quartet Dizzy’s Club 7:30, 9:30 pm $25 Measure 8 pm • The Frikativ Quartet: Sarah Bernstein, Scott Tixier, Stephanie Griffin, • Jon Sheckler Trio Shrine 6 pm kelleysuttenfield.com Malcolm Parson Cornelia Street Café 8:30 pm $10 • Russ Kassoff Big Band Saint Peter’s 1 pm $10

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 43 Friday, March 13 Saturday, March 14 Sunday, March 15 êCelebrating The 80th Anniversary Of The Village Vanguard—The Story of êCelebrating The 80th Anniversary Of The Village Vanguard—Live:Time // The Quilts of êCelebrating The 80th Anniversary Of The Village Vanguard: Charles Lloyd New Quartet Thelonious Monk: Jason Moran and Bandwagon with Taurus Mateen, Nasheet Waits Gee’s Bend: Jason Moran and Bandwagon with Taurus Mateen, Nasheet Waits and with Jason Moran, , Village Vanguard 8:30, 10:30 pm $30 guests Bill Frisell, Alicia Hall MoranVillage Vanguard 8:30, 10:30 pm $30 Village Vanguard 8:30, 10:30 pm $30 êLatin on Lex—Cuban Jazz and the New York Experience: Yosvany Terry, Gregory Tardy, êLatin on Lex—The Bolero Meets Jazz: Phil Woods, Ivan Renta, Ralph Moore, Ron Blake, êSylvie Courvoisier solo; Sylvie Courvoisier, Mark Feldman, Ned Rothenberg Manuel Valera, Pedrito Martinez, Hans Glawischnig, Obed Calvaire, Brian Lynch Marshall Gilkes, Zaccai Curtis, Yunior Terry, Vince Cherico, Reinaldo de Jesus, The Stone 8, 10 pm $15 92nd Street Y 8 pm $35 Xiomara Laugart, Brian Lynch 92nd Street Y 8 pm $35 • Tony Malaby’s Paloma Recio with Ben Monder, Eivind Opsvik, Nasheet Waits êRoy Haynes 90th Birthday with Pat Metheny, Christian McBride, Jaleel Shaw, êGary Bartz Quartet with Paul Bollenback, James King, Greg Bandy Greenwich House Music School 7:30 pm $15 Martin Bejerano, David Wong Blue Note 8, 10:30 pm $75 Jazz at Kitano 8, 10 pm $30 • Jason Ennis, Michael O’Brien, Conor Meehan; Abelita Mateus with Kim Daseul, êJacky Terrasson Quintet Dizzy’s Club 7:30, 9:30 pm $40 • Diana Krall Beacon Theatre 8 pm $75-125 Phillip Gillette Cornelia Street Café 8:30, 10 pm $10 • Steven Feifke Septet Dizzy’s Club 11:30 pm $10 êSylvie Courvoisier Octet; Sylvie Courvoisier/Mark Feldman • Daniel Carter/Jair-Rohm Parker Wells; Biggie Vinkeloe and Friends with Daniel Carter, êMichael Formanek’s Cheating Heart with Tim Berne, Brian Settles, Jacob Sacks, The Stone 8, 10 pm $15 Jair-Rohm Parker Wells, Andrea Wolper; Noshir Mody Quartet with Paul Tafoya, Dan Weiss Cornelia Street Café 9, 10:30 pm $10 • Gregorio Uribe Big Band with Sam Hoyt, Jonathan Powell, Hugo Moreno, Mike Fahie, Steve Blanco, John Lenis, Yutaka Uchida • Steve Turre’s Spiritman with Bruce Williams, Xavier Davis, Gerald Cannon, Matt McDonald, George Saenz, Sharel Cassity, Linus Wyrsch, Justin Flynn, WhyNot Jazz Room 7, 8:30, 10 pm $10 Willie Jones III Smoke 7, 9, 10:30 pm $38 Carl Maraghi, Ignacio Hernández, Andrés Rotmistrovsky, Jonathan Gómez, êPeter Leitch/Harvie S Walker’s 8 pm êMephista: Sylvie Courvoisier, Ikue Mori, Susie Ibarra; Mephisto: Sylvie Courvoisier, Marcelo Woloski, Juan Felipe Mayorga êChristian Sands Trio with Yasushi Nakamura, Rodney Green Ikue Mori, Nate Wooley, Jim Black The Stone 8, 10 pm $15 Roulette 8 pm $25 Minton’s 5;30, 7, 8:30 pm $10-20 • Art Spiegelman’s Wordless: Phillip Johnston Sextet • Arturo Stable Group The Jazz Gallery 8, 10 pm $22 • Lady Got Chops: Tina Fabrique and Friends with Sheryl Bailey, Lucianna Padmore Miller Theatre 7:30 pm $25-45 • Matt Lavelle and The 12 Houses The Firehouse Space 8 pm $10 Sankofa Aban Bed & Breakfast 9 pm • Lucian Ban/Mat Maneri Greenwich House Music School 8 pm $15 • Tulivu Donna Cumberbatch, Monnette Sudler and guests • Marco Di Gennaro Measure 8 pm • Charenee Wade Gil Scott-Heron Project Sistas’ Place 9, 10:30 pm $20 • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam The Jazz Gallery 8, 10 pm $22 • The Music of Ray Barretto and Fat Cat 6 pm 1 am êFranz Hautzinger/Isabelle Duthoit; Franz Hautzinger, Isabelle Duthoit, Peter Evans, Ginny’s Supper Club 7:30 pm $15 • Henry Fraser, Jesse Dulman, Ras Moshe, Ken Lieberson Brandon Lopez Ibeam Brooklyn 8:30, 10 pm $15 • Nadav Remez Trio with Ben Patterson, Dan Aran ABC No-Rio 7 pm $5 • Tina Fabrique Quartet with Lafayette Harris, Eric Wheeler, Dwayne “Cook” Broadnax Bar Next Door 7:30, 9:30, 11:30 pm $12 • Janine Gilbert-Carter with Eric B. Byrd, Wes Biles, Jeff Neal Jazz at Kitano 8, 10 pm $30 • Maria Guida Quartet with James Weidman, Marcus McLaurine, Tony Moreno; Metropolitan Room 7 pm $20 • Tardo Hammer/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5 Pascalito Neostalgia Trio with Luiz Simas, Leco Reis • Nelson Riveros; Concetta Donato; Peter & Hermon • George Gee Swing Orchestra Swing 46 9:30 pm Metropolitan Room 7, 9:30 pm $20 Somethin’ Jazz Club 5, 7, 9 pm $12 • From Up: Steve Hudson, Christopher Hoffman, Zach Brock, Ches Smith • Raptor Billy: Tara Kannangara, Brad Linde, Erika Dohi, Jules Bows, Jonathan Taylor • Joe Lander Trio Caffe Vivaldi 9 pm The Firehouse Space 8 pm $10 Ibeam Brooklyn 8:30, 10 pm $15 êRoy Haynes 90th Birthday with Savion Glover, Jaleel Shaw, Martin Bejerano, • Tom Beckham Trio with Peter Slavov, Ferenc Nemeth • Elsa Nilsson Quintet Rockwood Music Hall Stage 2 7 pm David Wong Blue Note 8, 10:30 pm $55 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Nagi Okamoto Quintet with Yuto Kanazawa, Takafumi Suenaga, Yujiro Nakamura, êJacky Terrasson Quintet Dizzy’s Club 7:30, 9:30 pm $35 • Christopher McBride and The Whole Proof Kenji Yoshitake; Hyuna Park; Emeraldo: Alice Ricciardi/Simona Premazzi; • Steve Turre’s Spiritman with Bruce Williams, Xavier Davis, Gerald Cannon, Fat Cat 10:30 pm Andre Carvalho Quintet Somethin’ Jazz Club 5, 7, 9, 11 pm $12 Willie Jones III Smoke 7, 9, 10:30 pm $38 • Marianne Solivan The Astor Room 7 pm • Standard Procedures; Tak Iwasaki Trio êSteve Kuhn Trio with Buster Williams, Joey Baron • Ditch Panther: Brad Linde, Erika Dohi, Deric Dickens; Lou Volpe; Tomi Jazz 8, 11 pm $10 Jazz Standard 7:30, 10 pm $30 Moth to Flame: Tyson Harvey, Ivo Lorenz, John Krtil, Ken Marino • CJ Everett Trio Cleopatra’s Needle 8 pm • Biggi Vinkeloe and Raw Sound Sweden; Cheryl Pyle/Biggi Vinkeloe WhyNot Jazz Room 7, 9, 11 pm $10 êRoy Haynes 90th Birthday with Roy Hargrove, Jaleel Shaw, Martin Bejerano, Downtown Music Gallery 6, 7 pm • Zach Mama with Sam Greenfield, Dan Nissenbaum, Tony Tixier, Nick Dunston; David Wong Blue Note 8, 10:30 pm $55 • Sound Painting Workshop The Firehouse Space 6 pm $10 Mitch Marcus Trio with Yoshi Waki, Jesse Simpson; Aimee Allen with Toru Dodo, êJacky Terrasson Quintet Dizzy’s Club 7:30, 9:30 pm $45 • Zolaland Silvana 6 pm Brandi Disterheft, Jacob Melchior Somethin’ Jazz Club 7, 9, 11 pm $12 • Steven Feifke Septet Dizzy’s Club 11:30 pm $20 • Marike van Dijk’s Stereography Project • Jason Yeager Duo Tomi Jazz 9 pm $10 êMichael Formanek’s Cheating Heart with Tim Berne, Brian Settles, Jacob Sacks, Saint Peter’s 5 pm • Doug White Quintet Sugar Bar 8 pm Dan Weiss Cornelia Street Café 9, 10:30 pm $10 • Eyal Vilner Big Band with Charenee Wade, Andrew Gould, Dan Block, Asaf Yuria, • Rob Silverman Indian Road Café 8 pm • Steve Turre’s Spiritman with Bruce Williams, Xavier Davis, Gerald Cannon, Joel Frahm, Eden Bareket, Bryan Davis, Matthew Jodrell, Wayne Tucker, John Mosca, • Joanna Sternberg Cleopatra’s Needle 8 pm Willie Jones III Smoke 7, 9, 10:30 pm $38 Eric Miller, Max Seigel, Tadataka Unno, Jennifer Vincent, Joe Strasser • Bob Gingery Trio Inkwell Café 7 pm • Tardo Hammer/Lee Hudson Knickerbocker Bar and Grill 9:45 pm $5 Smalls 4:30 pm $20 • Fukushi Tainaka Trio; Peter Valera Band êSteve Kuhn Trio with Buster Williams, Joey Baron • Lady Got Chops: Kim Kalesti’s Kimsitry The Garage 6, 10:30 pm Jazz Standard 7:30, 10, 11:30 pm $35 St. Mark’s Church 3:30 pm êSteve Kuhn Trio with Buster Williams, Joey Baron • Herb Alpert/Lani Hall Café Carlyle 8:45, 10:45 pm $55-145 • Kelley Suttenfield with Tony Romano Jazz Standard 7:30, 10, 11:30 pm $35 • Kevin Mahogany with Craig Handy, Helen Sung, Marco Panascia, Victor Lewis Perez Jazz 3 pm $20 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $55-155 Birdland 8:30, 11 pm $40 • Shirazette Tinnin with Nimrod Speaks, Jason Curry, Jesse Elder • Kevin Mahogany with Craig Handy, Helen Sung, Marco Panascia, Victor Lewis • Antonio Ciacca’s Cheek to Cheek Double Quartet Minton’s 12, 1:30, 3 pm $10 Birdland 8:30, 11 pm $40 Measure 8 pm • Roz Corral Trio with Dave Stryker, Paul Gill • Antonio Ciacca’s Cheek to Cheek Double Quartet • Sara Decker’s Cloud and Birds with Oskar Stenmark, Caleb Mason, Giorgi Mikadze, North Square Lounge 12:30, 2 pm Measure 8 pm Kaisa Mäensivu, Jeroen Truyen WhyNot Jazz Room 6 pm $10 • Carte Blanche Rainbow Room 12:30 pm $95 • Sining Qiu Band Silvana 6 pm • Daniela Schaechter Trio; Masami Ishikawa Trio; Virginia Mayhew Quartet • Kyoko Oyobe Trio; Rob Edwards Quartet • Eyes of the Master: Maria Schneider The Garage 12, 6, 10:30 pm The Garage 11:30 am 7 pm New School Arnhold Hall 4 pm

No Fast Food SONGBIRDS OF CIVIL RIGHTS “In Concert” Critic’s 2014 Top 10 WOMEN’S HISTORY MONTH with Dave Liebman, Drew Gress CELEBRATION CONCERT (CSJ-0107/08) Thursday, March 19, 2015 - 7PM-10PM Gerald W. Lynch Theater “Something Beatles” John Jay College of Criminal Justice The American jazz-grass presented by with , The Department of Africana Studies Drew Gress, Jim Yanda in association with (CSJ-0105) Cobi Narita’s Jazz Center of New York and The Center for Student Involvement and Leadership “It Might Be Spring” Honoring / Nina Simone / Intimate standards duets / Sarah Vaughan / with maverick trumpeter Hazel Scott / Billie Holiday / Waters / Mary Lou Williams (CSJ-0100) Ella Fitzgerald / Bessie Smith Singer-Actresses Joyce Griffin, Tina Fabrique, Baano, Melba Joyce, Ejaye Tracey and Jude Narita ; Pianists Emme Kemp, Deanna Witkowski and Kiyoko Yamaoka; Sue Samuels’ JazzRoots Dance Vital American Music Company; NEA Jazz Master Jimmy Owens, Trumpet, Guitarist Saul Acoustic Intimacy Rubin, Bassist Saadi Zain, and Sylvia Cuenca, drums; and JJAY Staff Yvonne Purdie, Sherry Gibson, Sabura Rashid and Angeline Butler Contemporary New York Artists GENERAL ADMISSION: $20; SENIORS: $15; **JCNY: $15; *STUDENTS: $10 *JOHN JAY STUDENTS ATTEND FREE* / **JCNY - get tickets from Cobi cornerstorejazz.com facebook.com/pages/Corner-Store-Jazz For ticket Inquiries please contact (212) 237-8764 Student Coordinators: Vincent Palmeri, Jonilda Seitllari, Wung Mung, and Kevin Lwango

44 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD Monday, March 16 • Lady Got Chops: Nora McCarthy Quartet • Claude Diallo Trio with Luques Curtis Harlem On 5th Restaurant 9 pm Happy Ending 6 pm êTerri Lyne Carrington’s Money Jungle • Spike Wilner Trio; Kyle Poole and Friends • Diego Urbano Silvana 6 pm Schomburg Center 7 pm $30 Smalls 7:30 pm 12:30 am $20 • Steve Kaiser Band Shrine 6 pm • George Braith; Billy Kaye Jam Fat Cat 9 pm 12:30 am • Saul Rubin; John Benitez Fat Cat 7, 9 pm êHarvie S/Alan Broadbent Saint Peter’s 1 pm $10 êLukas Ligeti/Thollem McDonas Spectrum 8:30 pm • Benjamin Sutin Ensemble with Elijah Shiffer, Grant Goldstein, Ben Rosenblum, • Cooper-Moore solo; Related Toy Situation: Jack Wright, Joe Moffett, Michael Evans Luca Rosenfeld, Curtis Nowasad, Ani Challa; Sigmar Matthiasson Trio with Hyojin Kim, Thursday, March 19 Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 Mario Irigoyen; Barbara Levy Daniels Quartet with Tedd Firth, , • Simon Jermyn, Jerome Sabbagh, Jim Black; Anna Webber, Edward Johnson, Abdul Qadir Somethin’ Jazz Club 7, 9, 11 pm $12 êHighlights In Jazz—Saxophones Supreme: Battle of the Saxes with Peter and Adam Hopkins, John Burk Ibeam Brooklyn 8:30, 10 pm $10 • Eileen Howard Tomi Jazz 8 pm Will Anderson, Grant Stewart, Neal Miner, Ken Peplowski, Ehud Asherie, Aaron Kimmel; êMichael Marcus Quartet Zinc Bar 9 pm • Jason Yeager Caffe Vivaldi 8 pm Lou Donaldson Quartet with Randy Johnston, Fukushi Tainaka, Akiko Tsuruga êMingus Big Band Jazz Standard 7:30, 10 pm $25 • Victor Baker Quartet The Garage 7 pm Tribeca Performing Arts Center 8 pm $45 êOrrin Evans Captain Black Big Band • Antonio Ciacca Measure 8 pm êLee Konitz/Dave Douglas Quintet with Matt Mitchell, Linda Oh, Ches Smith Smoke 7, 9 pm $9 • Danny Jonokuchi Silvana 6 pm Jazz Standard 7:30, 10 pm $35 • For Strayhorn: New York Youth Symphony Jazz with guest Luis Bonilla • Tom Blatt Project Shrine 6 pm êThe Microscopic Septet: Phillip Johnston, Don Davis, Mike Hashim, Dave Sewelson, Dizzy’s Club 7:30, 9:30 pm $35 • Art Baron Rendall Memorial Presbyterian Church 12, 1 pm $15 Joel Forrester, David Hofstra, Richard Dworkin • Avi Rothbard Trio with Pat Bianchi, Darrell Green; Spencer Murphy with Smalls 9:30 pm $20 TIvon Pennicott, John Chin, Lawrence Leathers Wednesday, March 18 • Interpretations: Thomas Buckner AACM 50th Anniversary Tribute Smalls 7:30 pm 1 am $20 Roulette 8 pm $20 • Alice Ricciardi OPTICS with Simona Premazzi, Andrew Renfroe, Desmond White, • B.B. King’s Blues Bar 7:30, 10 pm $40 êSongbirds Of Civil Rights—Women’s History Month Celebration Concert Honoring Adam Arruda ShapeShifter Lab 7 pm $10 • Janice Friedman Trio with Ed Howard, Mark McLean Lena Horne, Nina Simone, Melba Liston, Sarah Vaughan, Hazel Scott, Billie Holiday, • Antonio Ciacca Measure 8 pm Jazz at Kitano 8, 10 pm $15 Ethel Waters, Mary Lou Williams, Ella Fitzgerald, Bessie Smith: Joyce Griffin, • Linda Ciafalo Trio with Dave Solomon, Ratzo Harris • Allyn Johnson Quartet Smoke 7, 9, 10:30 pm $9 Tina Fabrique, Baano, Melba Joyce, Ejaye Tracey, Jude Narita, Emme Kemp, Bar Next Door 8:30, 10:30 pm $12 • Alex Brown Quintet Iridium 8:30 pm $20 Deanna Witkowski, Kiyoko Yamaoka; Sue Samuels’ Jazzroots Dance Company; • Takeshi Asai Trio with Kazuo Nakamura, Andrew Swift; Michael Eckroth; Eva Klesse • Teetering on the Verge of Normalcy: Peter Brown, Kamala Sankaram, Jed Distler, Jimmy Owens, Saul Rubin, Saadi Zain, Sylvia Cuenca Somethin’ Jazz Club 7, 9, 11 pm $12 Todd Reynolds, Guy Klucevsek The Stone 8 pm $20 John Jay College Of Criminal Justice 7 pm $20 • Setsuko Trio Tomi Jazz 8 pm • JC Hopkins Biggish Band with Wayne Tucker, Seneca Black, Corey Wallace, êHoward Alden/Warren Vaché Bar Next Door 8:30, 10:30 pm $12 • Lance Zitron Society Trio Le Cirque Café 7:30 pm Claire Daily, Julian Pressley, Patience Higgins, Troy Roberts, Noah Jackson, • Johnny O’Neal Trio Ginny’s Supper Club 8 pm $10 • Matt Baker and Trio with Nicolas King Charles Goold and guests Melanie Charles, Charles Turner, King Solomon Hicks • Michael Bates, James Carney, Jeff Davis, Loren Stillman; Aaron Irwin Trio with The Garage 7 pm Minton’s 7, 8:30, 10 pm $15-25 Mike Baggetta, Jeff Hirshfield ShapeShifter Lab 8:15, 9:30 pm $10 • Brian Krock Silvana 6 pm • Melissa Stylianou Quintet with Jamie Reynolds, Pete McCann, Gary Wang, Mark Ferber • Sebastien Ammann’s Color Wheel with Michael Attias, Noah Garabedian, 55Bar 7 pm Nathan Ellmann-Bell Ibeam Brooklyn 8:30, 10 pm $10 Tuesday, March 17 êChloe Levy solo; Marta Sanchez Group with Camila Meza, Patricia Franceschy, • Steve Kroon Sextet Smoke 7, 9, 10:30 pm $9 Charlotte Greve, Rick Rosato SEEDS 8:30, 10 pm • Guy Klucevsek solo The Stone 8 pm $20 êBill Frisell/Thomas Morgan Village Vanguard 8:30, 10:30 pm $30 • Tom Chang Quartet with Quinsin Nachoff, Sam Minaie, Jim Black • John Dokes Quintet with Steve Einerson, David Gibson, Alex Claffy, Jay Sawyer • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $45-135 Cornelia Street Café 8:30 pm $10 Jazz at Kitano 8, 10 pm $15 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash • How to Make a Mountain: Patrick Breiner, Josh Sinton, Jesse Stacken, Adam Hopkins, • Senri Oe Quartet with Arun Luthra The Jazz Gallery 8, 10 pm $15 Dizzy’s Club 7:30, 9:30 pm $35 Martin Urbach; Sweet Talk: Jake Henry, Dustin Carlson, Cody Brown • Controlled Chaos: Lisa Pegher/Chris Hemingway • Adam Larson Dizzy’s Club 11:30 pm $5 Brooklyn Conservatory of Music 8, 9 pm $10 The Firehouse Space 8 pm $10 êNettWork Trio: , Stanley Jordan, Jeff Tain Watts • Raphael D’lugoff; Don Hahn/Mike Camacho Band; Ned Goold Jam • Point of Departure Fat Cat 10 pm Birdland 8:30, 11 pm $40 Fat Cat 7, 9 pm 12:30 am • Chiemi Nakai Trio with Carlo De Rosa, Joel Mateo; Jacinta Clusellas Group with êMaceo Parker Blue Note 8, 10:30 pm $35 • Billy Carrión, Jr. Quartet with Campbell Charshee, Eddy Khaimovich, Sanah Kadoura; Rob Taylor, Tiago Michelin; Gianni Gagliardi • Kendrick Scott Oracle with John Ellis, Mike Moreno, Taylor Eigsti, Joe Sanders Marvin Dolly Quartet with Leonor Falcón Pasquali, Georgia Weber, Alvester Garnett Somethin’ Jazz Club 7, 9, 11 pm $12 Jazz Standard 7:30, 10 pm $25 WhyNot Jazz Room 7, 9 pm $10 • Benjamin Serveney Trio Tomi Jazz 9 pm $10 • Russ Kassoff Orchestra with Catherine Dupuis • Ben Sher; Clovis Nicolas Quintet with Riley Mulherkar, Pete Anderson, Jeb Patton, • Albert Marques, Walter Stinson, Zack O’Farrill NYC Baha’i Center 8, 9:30 pm $15 Pete Van Nostrand; Pedro Laco Somethin’ Jazz Club 7, 9, 11 pm $15 Caffe Vivaldi 9 pm • Guy Klucevsek/Alan Bern Unit The Stone 8 pm $20 • Marc Devine Trio The Garage 7 pm • Matt Baker Trio Cleopatra’s Needle 7 pm • Bob Ostertag solo; Jim Staley/Ikue Mori êBill Frisell/Thomas Morgan Village Vanguard 8:30, 10:30 pm $30 • Rick Stone Trio The Garage 7 pm Roulette 8 pm $20 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $45-135 êBill Frisell/Thomas Morgan Village Vanguard 8:30, 10:30 pm $30 • Jon Irabagon Trio with Akiko Tsuruga, Jason Tiemann êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $45-135 Bar Next Door 8:30, 10:30 pm $12 Dizzy’s Club 7:30, 9:30 pm $35 êRenee Rosnes Quartet with Steve Nelson, Peter Washington, Lewis Nash • Johnny O’Neal Trio with Luke Sellick, Charles Goold • Adam Larson Dizzy’s Club 11:30 pm $5 Dizzy’s Club 7:30, 9:30 pm $40 Minton’s 7, 8:30, 10 pm $10-20 êNettWork Trio: Charnett Moffett, Stanley Jordan, Jeff Tain Watts • Adam Larson Dizzy’s Club 11:30 pm $10 • Stephanie Richards’ Urban Surveyors with James Carney, Sam Minaie, Birdland 8:30, 11 pm $40 êNettWork Trio: Charnett Moffett, Stanley Jordan, Jeff Tain Watts Andrew Munsey; Magico: Vincent Chancey, Angelica Sanchez, Omar Tamez êMaceo Parker Blue Note 8, 10:30 pm $35 Birdland 8:30, 11 pm $40 Korzo 9, 10:30 pm • Kendrick Scott Oracle with John Ellis, Mike Moreno, Taylor Eigsti, Joe Sanders êMaceo Parker Blue Note 8, 10:30 pm $35 • Sara Serpa/André Matos; Ditmas Quartet: Michaël Attias, Eva Novoa, Max Johnson, Jazz Standard 7:30, 10 pm $25 • Antonio Ciacca Measure 8 pm Jeff Davis ShapeShifter Lab 7, 8:15 pm $12 • Antonio Ciacca Measure 8 pm êOrrin Evans Quartet with Stacy Dillard, Ben Wolfe, , Jr. Minton’s 6 pm $10-20

MIGUEL ZENÓN QUARTET

Identities are Changeable: Tales from the Diaspora

Friday, March 20, 2015 7:30 p.m. Repertory Theater

RESERVED SEATING: $15 ($7.50 FOR STUDENTS / UNDER 18)

www.hostoscenter.org (718) 518-4455

NYC Council Member María del Carmen Arroyo NY Assemblyman José Rivera NY Assemblywoman Carmen E. Arroyo

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 45 Friday, March 20 • The Flame: Snehasish Mozumder, Ranendra Kumar Das, Cristian Puig, • Strictly Sinatra: Michael Dutra Big Band Peter Basil Bogdanos Cornelia Street Café 6 pm $10 B.B. King’s Blues Bar 8 pm $25 êBarry Altshul 3Dom Factor with Jon Irabagon, Joe Fonda • Lucian Ban/Mat Maneri Quintet with Tony Malaby, Bob Stewart, êMingus Big Band Jazz Standard 7:30, 10 pm $25 Cornelia Street Café 9, 10:30 pm $10 Cornelia Street Café 9, 10:30 pm $10 êOrrin Evans Captain Black Big Band êValerie Capers Trio with John Robinson, Doug Richardson • John Escreet The Jazz Gallery 8, 10 pm $22 Smoke 7, 9 pm $9 Jazz at Kitano 8, 10 pm $30 • Leslie Pintchik Trio with Scott Hardy, Michael Sarin êMichael Blake/Kresten Osgood Bar Lunatico 8 pm • Miguel Zenón Quartet with Luis Perdomo, Hans Glawischnig, Henry Cole Bar Next Door 7:30, 9:30, 11:30 pm $12 • The Maurice Brown Effect Blue Note 8, 10:30 pm $15 Hostos Center 7:30 pm $15 • Ronny Whyte/Boots Maleson Knickerbocker Bar and Grill 9:45 pm $5 • Jason Ajemian solo; Dustin Carlson Trio with Will McEvoy, Max Goldman êAruán Ortiz Trio with , Gerald Cleaver • Andy Suvalsky Quartet with Asen Doykin, Trifon Dmitrov, Yutaka Uchida Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 The Jazz Gallery 8, 10 pm $22 Jazz at Kitano 8, 10 pm $30 • Toshi Reagon’s The Great Women of Blues and Jazz • Octet with Jonathan Finlayson, Mark Shim, Tim Albright, Chris Dingman, • Buffalo Braunschweiger: Pete Donovan, Steve Elson, Barbara Merjan, Guy Klucevsek Schomburg Center 7 pm $30 Jose Davila, Matt Brewer, Cody Brown The Stone 8 pm $20 • Kelley Suttenfield Quintet with Michael Cabe, Tosh Sheridan, Matt Aronoff, Brian Adler Brooklyn Conservatory of Music 8 pm $15-25 • Chris Byars Sextet with , John Mosca, Stefano Doglioni, Greg Makamian Zinc Bar 7 pm $8 êWarren Wolf and Wolfpack with Alex Brown, Vicente Archer, Pete Van Nostrand Smalls 7:30 pm $20 • Stéphane Spira In Between Quartet with Sam Kulik, Steve Wood, Johnathan Blake; Smoke 7, 9, 10:30 pm $38 • Point of Departure; Greg Glassman Jam Jonathan Michel Smalls 7:30 pm 1 am $20 • Brussels Jazz Orchestra: Frank Vaganée, Dieter Limbourg, Kurt Van Herck, Fat Cat 10 pm 1:30 am • Dana Reedy Trio with Pete McCann, Morrie Louden Bart Defoort, Bo Van Der Werf; Serge Plume, Nico Schepers, Pierre Drevet, • Sasha Dobson BAMCafé 9 pm Bar Next Door 8:30, 10:30 pm $12 Jeroen Van Malderen, Ben Fleerakkers, Lode Mertens, Frederik Heirman, • Melvis Santa Project Cubano with David Virelles • Eduardo Belo Choro Quartet Measure 8 pm Laurent Hendrick, , Jos Machtel, Toni Vitacolonna SEEDS 9 pm • Kathryn Kristie Trio Tomi Jazz 8 pm Dizzy’s Club 7:30, 9:30 pm $40 • Hans Tammen’s Dark Circuits Spectrum 9 pm • David Budway/Kristen Lee Sergeant • Adam Larson Dizzy’s Club 11:30 pm $10 • Aaron Comess Quintet Rockwood Music Hall Stage 3 9 pm $10 Le Cirque Café 7:30 pm • The Bantam Orchestra: Pete Donovan, Erik Friedlander, Mary Rowell, Guy Klucevsek • Dexter Porter; Kristine Mills with Jeff Franzel, Saadi Zain • Lou Caputo Not So Big Band The Garage 7 pm The Stone 8 pm $20 Metropolitan Room 7, 9:30 pm $20 • Benno Marmur Silvana 6 pm • Paul Bollenback Trio with Joris Teepe, Brandon Lewis • New York Jazz Academy Concert; David Glasser Quartet; Will Mac with Isaac Dye, Bar Next Door 7:30, 9:30, 11:30 pm $12 John Petrucelli, Anthony Fazio, Rebecca Andrews, Tucker Flythe, Daniel Silverstein Tuesday, March 24 • Biggi Vinkeloe, Steve Swell, Ken Filiano, Lisa Cay Miller, Andrew Drury Somethin’ Jazz Club 5, 9, 11 pm $12 Soup & Sound 7 pm $15 • Yuko Ito Trio; Nick Morrison Trio Tomi Jazz 8, 11 pm $10 êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille • Tony Tixier Dream Pursuit with Harish Raghavan, Craig Weinrib • Aki Yamamato Trio Cleopatra’s Needle 8 pm Village Vanguard 8:30, 10:30 pm $30 ShapeShifter Lab 8 pm $10 • Luke Hendon Indian Road Café 8 pm êRudresh Mahanthappa’s Bird Calls with Adam O’Farrill, David Virelles, François Moutin, • David Lopato solo Michiko Studios 8 pm $20 êWarren Wolf and Wolfpack with Alex Brown, Vicente Archer, Pete Van Nostrand Jordan Perlson Jazz Standard 7:30, 10 pm $25 • George Gee Swing Orchestra Swing 46 9:30 pm Smoke 7, 9, 10:30 pm $38 êJames Moody 90th Birthday Tribute with Dee Dee Bridgewater, James Carter, • Jill McCarron Measure 8 pm • Brussels Jazz Orchestra: Frank Vaganée, Dieter Limbourg, Kurt Van Herck, Jon Faddis, David Hazeltine, , Victor Lewis • Peter and Will Anderson Quintet with Jeb Patton, Mike Karn, Phil Stewart Bart Defoort, Bo Van Der Werf; Serge Plume, Nico Schepers, Pierre Drevet, Blue Note 8, 10:30 pm $35 Smalls 7:30 pm $20 Jeroen Van Malderen, Ben Fleerakkers, Lode Mertens, Frederik Heirman, êJohn Abercrombie Quartet Birdland 8:30, 11 pm $40 • Nu Soil Fat Cat 10:30 pm Laurent Hendrick, Nathalie Loriers, Jos Machtel, Toni Vitacolonna • Joey Calderazzo Trio with Orlando Le Fleming, Rudy Royston • Matt Silberman Turtle Bay Music School 7 pm Dizzy’s Club 7:30, 9:30 pm $45 Dizzy’s Club 7:30, 9:30 pm $35 • Marianne Solivan The Astor Room 7 pm • Adam Larson Dizzy’s Club 11:30 pm $20 • Evan Sherman Entourage Dizzy’s Club 11:30 pm $5 • Claude Diallo/Chiara Izzi WhyNot Jazz Room 9 pm • Jill McCarron Measure 8 pm • Jay D’Amico Group NYC Baha’i Center 8, 9:30 pm $15 • Matt Savage Trio with Tom Berkmann, Peter Retzlaff; Isaiah Barr êLee Konitz/Dave Douglas Quintet with Matt Mitchell, Linda Oh, Ches Smith êAllison Miller/Myra Melford; Spindrift for Leroy Jenkins: Nicole Mitchell, Tyshawn Sorey, Somethin’ Jazz Club 7, 9 pm $12 Jazz Standard 7:30, 10 pm $35 Myra Melford The Stone 8, 10 pm $15 • Kuni Mikami Trio Tomi Jazz 9 pm $10 • Sebastien Ammann’s Color Wheel with Michael Attias, Noah Garabedian, êBen Goldberg, Michael Coleman, Hamir Atwal; Tony Malaby, Chris Hoffman, • Sarah Slonim Trio Cleopatra’s Needle 8 pm Nathan Ellmann-Bell Ibeam Brooklyn 8:30, 10 pm $10 Juan Pablo Carletti Korzo 9, 10:30 pm • Adam Rongo Trio; Kevin Dorn and the BIG 72 êBill Frisell/Thomas Morgan Village Vanguard 8:30, 10:30 pm $30 êHerb Robertson/Kresten Osgood; , Michael Blake, Max Johnson, The Garage 6, 10:30 pm • Herb Alpert/Lani Hall Café Carlyle 8:45, 10:45 pm $55-145 Kresten Osgood Ibeam Brooklyn 8:30, 10 pm $10 êLee Konitz/Dave Douglas Quintet with Matt Mitchell, Linda Oh, Ches Smith êNettWork Trio: Charnett Moffett, Stanley Jordan, Jeff Tain Watts êRhapsody in Gershwin: Ted Rosenthal Trio with Martin Wind, Tim Horner Jazz Standard 7:30, 10 pm $35 Birdland 8:30, 11 pm $40 Riverdale Y 7:30 pm $30 • Sebastien Ammann’s Color Wheel with Tony Malaby, Michael Attias, Noah Garabedian, êMaceo Parker Blue Note 8, 10:30 pm $35 • Joanna Wallfisch/Dan Tepfer SubCulture 8 pm $18 Nathan Ellmann-Bell Ibeam Brooklyn 8:30, 10 pm $10 • Asako Takasaki Shrine 6 pm êMarianne Solivan with Duane Eubanks, Sharp Radway, Matthew Parrish, êBill Frisell/Thomas Morgan Village Vanguard 8:30, 10:30 pm $30 • Wade Barnes Tribute Band: Roy Meriwether, Bill Saxton, Vincent Chancey, McClenty Hunter Minton’s 7, 8:30, 10 pm $10-20 • Herb Alpert/Lani Hall Café Carlyle 8:45 pm $55-155 Philip Harper, Alex Grassel, Dave Gibson • Spike Wilner Trio; Kyle Poole Smalls 7:30 pm 12:30 am $20 êNettWork Trio: Charnett Moffett, Stanley Jordan, Jeff Tain Watts Brownsville Heritage House 3 pm • Saul Rubin; Nu D’Lux Sálsa Y Són Fat Cat 7, 9 pm Birdland 8:30, 11 pm $40 • Larry Newcomb Quartet; Mark Marino Trio • Kyle Nasser Group with Jeff Miles, Dov Manski, Chris Van Voors, Jonathan Pinson êMaceo Parker Blue Note 8, 10:30 pm $35 The Garage 12, 6 pm Cornelia Street Café 8:30 pm $10 • Michael Feinberg Silvana 6 pm • Tyler Blanton Trio with Matt Brewer, Mark Ferber • Donee Middleton Shrine 6 pm Sunday, March 22 Bar Next Door 8:30, 10:30 pm $12 • Michael Gallant Trio Tomi Jazz 8 pm Saturday, March 21 • All Accordions All the Time: Art Bailey, Nathan Koci, Guy Klucevsek • Pasquale Grasso Quartet The Garage 7 pm The Stone 8 pm $20 • Eduardo Belo Choro Quartet Measure 8 pm êVinnie Sperrazza’s Apocryphal with Loren Stillman, Brandon Seabrook, Eivind Opsvik; • Duane Eubanks Trio with Dezron Douglas, Eric McPherson • Aquiles Navarro/Tcheser Holmes Silvana 6 pm Loren Stillman/Russ Lossing Greenwich House Music School 7:30 pm $20 Cornelia Street Café 8:30 pm $10 • Kali Z. Fasteau Rendall Memorial Presbyterian Church 12, 1 pm $15 êChloe Levy solo Bowery Arts + Science 8:30 pm • The Jazz and Poetry Choir Collective: Michael TA Thompson, EJ Antonio, Rosi Hertlein, Ras Moshe, Larry Roland, Golda Solomon, Phylisha Villanueva WhyNot Jazz Room 7 pm $10 • Adam Caine, Connie Crothers, Ken Filiano, Federico Ughi Foundation presents: The Firehouse Space 8 pm $10 êPeter Leitch/Ray Drummond Walker’s 8 pm • Willerm Delisfort Sextet with Milton Suggs, Josh Evans, Stacy Dillard, Ameen Saleem, Jeremy “Bean” Clemons Minton’s 5;30, 7, 8:30 pm $10-20 • Lady Got Chops: Marylyn Myrthil and Friends Jacob Sacks Sankofa Aban Bed & Breakfast 9 pm • Lady Got Chops: Julie Bluestone Quartet Harlem On 5th Restaurant 9 pm • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam Fat Cat 6 pm 1 am Yoon Sun Choi • Tom Guarna Quartet 55Bar 10 pm • Nick Sanders Trio with Henry Fraser, Connor Baker and guest Alex LoRe WhyNot Jazz Room 10 pm $10 • John Lutz O(h)ms of Resistance Ensemble; Nick Demopoulos solo ABC No-Rio 7 pm $5 Eivind Opsvik • Kate Cosco Measure 8 pm • Tunk Trio: Chris Tunkel, Anders Nilsson, Curt Sydnor Shrine 8 pm • Kew Gardens Chamber Ensemble: Pedro Villegas, Herb Gingold, Noriko Omichi, Alan Fricke, Tony Spradlin, Somer Taylor Dan Weiss University of the Streets 7 pm $10 êSteve Cromity Milk River Café 7 pm • Brian Melvin Trio with Tony Tixier, Tom Berkmann Somethin’ Jazz Club 9 pm $15 • Trample Man: Broc Hempel, Sam Trapchak, Christian Coleman with guest Dominie’s Astoria 9 pm • Eden Bareket Trio; John Lander Trio Caffe Vivaldi 8, 9 pm • Ronny Whyte/Boots Maleson Knickerbocker Bar and Grill 9:45 pm $5 êWarren Wolf and Wolfpack with Alex Brown, Vicente Archer, Pete Van Nostrand Smoke 7, 9, 10:30 pm $38 • Brussels Jazz Orchestra: Frank Vaganée, Dieter Limbourg, Kurt Van Herck, Bart Defoort, Bo Van Der Werf; Serge Plume, Nico Schepers, Pierre Drevet, Jeroen Van Malderen, Ben Fleerakkers, Lode Mertens, Frederik Heirman, Laurent Hendrick, Nathalie Loriers, Jos Machtel, Toni Vitacolonna Dizzy’s Club 7:30, 9:30 pm $35 êLee Konitz/Dave Douglas Quintet with Matt Mitchell, Linda Oh, Ches Smith Jazz Standard 7:30, 10 pm $35 êBill Frisell/Thomas Morgan Village Vanguard 8:30, 10:30 pm $30 êMaceo Parker Blue Note 8, 10:30 pm $35 êSteve Swell solo Downtown Music Gallery 6 pm • Antonello Parisi Silvana 6 pm • Arturo O’Farrill and the Boss Level Sextet Saint Peter’s 5 pm • Frank Kohl Quartet with Tom Kohl, Steve LaSpina, Jon Doty Smalls 4:30 pm $20 • Kresten Osgood/Martin Philadelphy Downtown Music Gallery 2 pm • Whitney Marchelle Quartet Minton’s 12, 1:30, 3 pm $10 • Michelle Walker Trio with Paul Bollenback, Michael O’Brien @ North Square Lounge 12:30, 2 pm • Nightingale Jazz Band Rainbow Room 12:30 pm $95 • Iris Ornig Quartet; David Coss Quartet The Garage 11:30 am 7 pm Carnegie Hall Monday, March 23 Weill Recital Hall êA Tribute to Wayne Shorter: Manhattan School of Music Jazz Orchestra with guest Dave Liebman Dizzy’s Club 7:30, 9:30 pm $35 Wednesday March 25 - 8pm • Candice Hoyes with Adam Birnbaum, Ron Blake, Vincent Gardner, Carl Maraghi, Yasushi Nakamura, Ted Nash, Ulysses Owens Jr., Kenny Rampton and guest Wycliffe Gordon Minton’s 7, 8:30, 10 pm tickets available at: • Thana Alexa with guests Donny McCaslin, Antonio Sanchez www.carnegiehall.org www.abbywhiteside.org SubCulture 8 pm $20

46 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD Wednesday, March 25 êJacob Garchik’s Ye Olde with Mary Halvorson, Brandon Seabrook, êMaciste all’inferno with Sex Mob: Steven Bernstein, Briggan Krauss, Tony Scherr, Jonathan Goldberger, Vinnie Sperrazza Kenny Wollesen Symphony Space Leonard Nimoy Thalia 7:30 pm $25 êLarry Ridley Jazz Legacy Ensemble with Richard Wyands, Greg Bufford, Doug Harris, Joe’s Pub 9:30 pm $15 êMichele Rosewoman’s New Yor-Uba with Ingrid Jensen, Roman Filiu, Tom Dempsey Dizzy’s Club 7:30, 9:30 pm $30 • Monty Alexander Harlem Kingston Express with Andy Bassford, Hassan JJ Shakur, Aaron Djuan Burnett, Andrew Gutauskas, Chris Washburne, Gregg August, • Evan Sherman Entourage Dizzy’s Club 11:30 pm $5 Joshua Thomas, Karl Wright Jazz Standard 7:30, 10 pm $35 Tyshawn Sorey, Roman Díaz, Abraham Rodriguez, Mauricio Herrera, êBen Goldberg/Myra Melford; , Mary Halvorson, Myra Melford êCrush Quartet: Cuong Vu, Stomu Takeishi, Kenny Wollesen, Myra Melford; Ernesto ‘El Gato’ Gatell Dizzy’s Club 7:30, 9:30 pm $40 The Stone 8, 10 pm $15 Be Bread Sextet: Cuong Vu, Ben Goldberg, Brandon Ross, Stomu Takeishi, • Evan Sherman Entourage Dizzy’s Club 11:30 pm $10 • Standard Time with Michael Feinstein Matt Wilson The Stone 8, 10 pm $15 êThe Levin Brothers: Pete and Tony Levin Zankel Hall 7:30 pm $83-99 êNate Radley Quartet with Loren Stillman, Matt Pavolka, Ted Poor Iridium 8:30, 10:30 pm $25 êCyro Baptista’s Banquet of the Spirits with Brian Marsalla, Tim Keiper, Cornelia Street Café 8:30 pm $10 êSame River Twice: Dave Douglas, Chris Speed, Erik Friedlander, Michael Sarin, Shanir Blumenkranz Harlem Stage Gatehouse 7:30 pm • The Ladybugs: Martina DaSilva/Kate Davis Myra Melford The Stone 8, 10 pm $15 êJacob Sacks, Yoon Sun Choi, Eivind Opsvik, Dan Weiss Dizzy’s Club 7:30, 9:30 pm $35 • David Kikoski Trio with Ed Howard, Adam Cruz Weill Recital Hall 8 pm $35 • Evan Sherman Big Band Dizzy’s Club 11:30 pm $10 Jazz at Kitano 8, 10 pm $30 • Glenn Zaleski Trio with Dezron Douglas, Craig Weinrib and guest Ravi Coltrane • Carl Bartlett, Jr. Quartet with Yoichi Uzeki, Eric Lemon, Sylvia Cuenca • Steve LaSpina/Billy Test Knickerbocker Bar and Grill 9:45 pm $5 Jazz Standard 7:30, 10 pm $25 Jazz at Kitano 8, 10 pm $15 êScott Dubois Quartet with Jon Irabagon, Eivind Opsvik, Kresten Osgood • Reggie Quinerly Quartet with Jaleel Shaw, Lawrence Fields, Alan Hampton • Emilio Teubal Ensemble with Moto Fukushima, Sam Sadigursky, Brad Shepik, Cornelia Street Café 9, 10:30 pm $10 Smoke 7, 9, 10:30 pm $9 Josh Deutsch, Adam Fischer, Franco Pinna • Ted Poor Quartet with Dayna Stephens, , Ben Street • Ricky Rodriguez Quintet with David Binney, Tom Guarna, Fabian Almazan, The Jazz Gallery 8, 10 pm $15 The Jazz Gallery 8, 10 pm $22 Johnathan Blake Iridium 8:30 pm $20 • Patience Higgins Sugar Hill Quartet êJohn Ehlis Group with Sylvain Leroux, Yasuno Katsuki, Glen Fittin and guests • Larry Fuller Trio with Katie Thiroux, Matt Witek Fat Cat 10 pm Christof Knoche, Sana Nagano; Matt McDonald Group with Jerónimo Carmona, Jazz at Kitano 8, 10 pm $15 • Martin Philadelphy/Kresten Osgood; Mat Maneri, Ed Schuller, Randy Peterson, Colby Inzer ShapeShifter Lab 8, 9:30 pm $10 • JC Hopkins Biggish Band with Wayne Tucker, Seneca Black, Corey Wallace, Kresten Osgood Ibeam Brooklyn 8:30, 10 pm $10 êBen Goldberg solo and duo with Giacomo Merega Claire Daily, Julian Pressley, Patience Higgins, Troy Roberts, Noah Jackson, • Saron Crenshaw Smoke 7, 9, 10:30 pm $9 Prospect Range 9 pm $10 Charles Goold Minton’s 7, 8:30, 10 pm $15-25 • Chiaroscuro: Nir Naaman, Colleen Clark, Renato Diz • Vinicius Cantuária Sings Jobim SubCulture 8 pm $30 • Yuhan Su Sextet with Matt Holman, Kenji Herbert, Petros Klampanis, ShapeShifter Lab 8:15 pm • Chloe Levy/Ben Monder The Firehouse Space 8 pm $10 Nathan Ellman-Bell, Dan Tepfer Cornelia Street Café 8:30 pm $10 • Anne Bassen/Edith Lettner The Firehouse Space 8 pm $10 • Mark Guiliana’s Beat Music Rockwood Music Hall Stage 2 10:45 pm $12 • Seth Trachy Group with Glenn Zaleski, Felix Lecaros • Haggai Cohen-Milo with Nadav Remez, Ziv Ravitz • World on a String Trio: Paul Meyers, Boris Koslov, Vanderlei Pereira SEEDS 8:30 pm Bar Next Door 8:30, 10:30 pm $12 Bar Next Door 7:30, 9:30, 11:30 pm $12 • Raphael D’lugoff; Ned Goold Jam Fat Cat 7 pm 12:30 am • Tara O’Grady Metropolitan Room 7 pm $20 • Joe Abba Quartet with Thomson Kneeland, Mike Eckroth, Paul Carlon • Curriculum Quartet: Will McEvoy, Josh Sinton, Ryan Snow, Max Goldman • Yasuno Katsuki Trio Tomi Jazz 9 pm $10 WhyNot Jazz Room 11 pm $10 Rye 9 pm $10 • Diego Barbera; Equilibrium: Brad Baker, Pam Belluck, Rich Russo, Elliot Honig, • Manhattan School of Music Afro-Cuban Jazz Orchestra • Haleo: Nicolas Letman-Burtinovic, Matt Applebaum, Carter Bales Terry Schwadron, Dan Silverstone; Albert Marques, Walter Stinson, Zack O’Farrill Borden Auditorium 7:30 pm Bar Chord 9 pm Caffe Vivaldi 6:45, 8, 9 pm • Marianne Solivan The Astor Room 7 pm • Joe Alterman Caffe Vivaldi 8:15 pm • Dan Furman Trio Cleopatra’s Needle 7 pm • Takenori Nishiuchi Tomi Jazz 9 pm $10 • Mayu Saeki Trio The Garage 7 pm • Dre Barnes Project The Garage 7 pm • Art Lillard Trio Cleopatra’s Needle 8 pm • Anna Elizabeth Kendrick Tagine 8 pm êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille • Rob Silverman Indian Road Café 8 pm êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille Village Vanguard 8:30, 10:30 pm $30 • Fingers DelRey Inkwell Café 7 pm Village Vanguard 8:30, 10:30 pm $30 êJames Moody 90th Birthday Tribute with Najee, Wallace Roney, Russell Malone, • Michika Fukumori Trio; Peter Valera Jump Blues Band êJames Moody 90th Birthday Tribute with Wallace Roney, James Carter, David Hazeltine, David Hazeltine, Todd Coolman, Victor Lewis The Garage 6, 10:30 pm Todd Coolman, Victor Lewis Blue Note 8, 10:30 pm $35 Blue Note 8, 10:30 pm $35 • Monty Alexander Harlem Kingston Express with Andy Bassford, Hassan JJ Shakur, êJohn Abercrombie Quartet Birdland 8:30, 11 pm $40 êJohn Abercrombie Quartet Birdland 8:30, 11 pm $40 Joshua Thomas, Karl Wright Jazz Standard 7:30, 10, 11:30 pm $40 • Eduardo Belo Choro Quartet Measure 8 pm • Eduardo Belo Choro Quartet Measure 8 pm êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille • Josh Evans Big Band with Bruce Williams, Yunie Mojica, Mike Lee, Stacy Dillard, • Sunfree Shrine 6 pm Village Vanguard 8:30, 10:30 pm $30 Lauren Sevian, , Stafford Hunter, David Gibson, Max Siegal, Linda Briceno, êJames Moody 90th Birthday Tribute with Jimmy Heath, Randy Brecker, Vitaly Golenev, Anthony Sisson, Theo Hill, Ryan Berg, Kush Abadey, Shenel Johns Friday, March 27 Roberta Gambarini, David Hazeltine, Todd Coolman, Victor Lewis Minton’s 6 pm $10-20 Blue Note 8, 10:30 pm $45 • Sharik Hasan Silvana 6 pm êCarl Allen’s The Art of Elvin with Freddie Hendrix, Keith Loftis, Eric Reed, • Makaya McCraven Blue Note 12:30 am $10 • Stan Rubin’s Tigertown Five Saint Peter’s 1 pm $10 Yasushi Nakamura Smoke 7, 9, 10:30 pm $38 êJohn Abercrombie Quartet Birdland 8:30, 11 pm $40 êPaquito D’Rivera’s Around the Americas with Alex Brown, Oscar Stagnaro, • Eduardo Belo Choro Quartet Measure 8 pm Thursday, March 26 Diego Urcola, Mark Walker, and Quinteto Cimarron: • Nick Di Maria Shrine 6 pm Eduardo Coma Vega, Lazaro Gonzalez Pena, Raymond Arteaga Morales, êThe Music of Frantz Casseus: Marc Ribot/Emeline Michel Luis Caballero Varona, Oscar Rodriguez Calvo Greenwich House Music School 8 pm $25 Rose Theater 8 pm $30-120

rudresh mahanthappa

3 time critic’s poll winner rudresh mahanthappa examines the influence of charlie parker through a 21st century jazz lens

ACT 9581-2 cd/vinyl/download

us distribution by

www.actmusic.com

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 47 Saturday, March 28 êOrrin Evans Captain Black Big Band Smoke 7, 9 pm $9 êSnowy Egret: Ron Miles, Liberty Ellman, Stomu Takeishi, Ted Poor, Myra Melford • John Raymond Quartet with Ethan Iverson, Matt Brewer, Rudy Royston; REGULAR ENGAGEMENTS The Stone 8, 10 pm $15 Ari Hoenig/Edmar Castañeda; Spencer Murphy with Tivon Pennicott, John Chin, Lawrence Leathers Smalls 7:30, 10:30 pm 1 am $20 êThe Wolff & Clark Expedition: Mike Clark, Jaleel Shaw, Onaje Allan Gumbs, MONDAY Gerald Cannon Jazz at Kitano 8, 10 pm $30 • Rutgers Faculty Jazz Septet and University Jazz Ensemble êJohn Hébert Trio with Dayna Stephens, Eric McPherson Blue Note 8, 10:30 pm $15 • Ron Affif Trio Zinc Bar 9, 11pm, 12:30, 2 am • Juilliard Jazz Ensembles Juilliard School Peter Jay Sharp Theater 8 pm • /Eddy Davis New Orleans Jazz Band Café Carlyle 8:45 pm $155 Cornelia Street Café 9, 10:30 pm $10 • Rick Bogart Trio Broadway Thai 6:30 pm (ALSO SUN) • Peter Apfelbaum’s Sparkler The Jazz Gallery 8, 10 pm $22 • Valentina Marino Trio with Taulant Mehmeti, Cameron Brown Bar Next Door 8:30, 10:30 pm $12 • Richard Clements and guests 11th Street Bar 8 pm • Larry Corban Trio with Harvie S, Steve Williams • Emerging Artists Series Bar Next Door 6:30 pm (ALSO TUE-THU) Bar Next Door 7:30, 9:30, 11:30 pm $12 • Michael Kanan Measure 8 pm • Joel Forrester solo Brandy Library 8 pm • Charenee Wade’s The Gil Scott-Heron Project • Matthew Heath Tomi Jazz 8 pm • Vince Giordano’s Nighthawks Iguana 8 pm (ALSO TUE) Ginny’s Supper Club 7:30, 9:30 pm $15-20 • Cole Rumbough Le Cirque Café 7:30 pm • Grove Street Stompers Arthur’s Tavern 7 pm • Lil Phillips Sistas’ Place 9, 10:30 pm $20 • Eyal Vilner Big Band The Garage 7 pm • Jazz Foundation of American Jam Session Local 802 7 pm • Steve Carrington; Lawrence Clark; Greg Glassman Jam • Arthur Kell and Friends Bar Lunatico 8:30 pm Tuesday, March 31 • Renaud Penant Trio Analogue 7:30 pm Fat Cat 7, 10 pm 1:30 am • Earl Rose solo; Earl Rose Trio Bemelmans Bar 5:30, 9 pm • Emeline Michel ShapeShifter Lab 8 pm $10 • Stan Rubin All-Stars Charley O’s 8:30 pm • Doug White Quintet Williamsburg Music Center 10 pm êChristian McBride Big Band with Nabate Isles, Freddie Hendrix, Brandon Lee, Steve Davis, Michael Dease, James Burton, Douglas Purviance, Ron Blake, Daniel Pratt, • Smoke Jam Session Smoke 11:30 pm • Janice and Vinnie Zummo with Cameron Brown, Ray Marchica • Swingadelic Swing 46 8:30 pm Metropolitan Room 7 pm $20 Carl Maraghi, Todd Bashore, Melissa Walker, Xavier Davis, Ulysses Owens, Jr. • Vanguard Jazz Orchestra Village Vanguard 8:30, 10:30 pm $25 • Marius Duboule Trio with Sam Trapchak, Michel Maurer; Igor Lumpert, Dizzy’s Club 7:30, 9:30 pm $40 • Diego Voglino Jam Session The Village Lantern 9:30 pm Sebastien Ammann, Juan Pablo Carletti êTom Harrell Quintet with Ambrose Akinmusire, Charles Altura, Ugonna Okegwo, • Jordan Young Group Bflat 8 pm (ALSO WED 8:30 pm) Ibeam Brooklyn 8, 9:30 pm $10 Johnathan Blake Village Vanguard 8:30, 10:30 pm $30 • Lady Got Chops: Aqua Ninjaz Dynamic Musique Tribute Ensemble êSheila Jordan and Steve Kuhn Trio Birdland 8:30, 11 pm $40 TUESDAY êE.J. Strickland Quintet with Jaleel Shaw, Marcus Strickland, Luis Perdomo, Linda Oh First Reformed Church of Jamaica 8 pm • Daisuke Abe Trio Sprig 6 pm (ALSO WED-THU) • Lunana and her Lunanos; Yusuke Seki Jazz Standard 7:30, 10 pm $25 Corina Bartra Peruvian Jazz Ensemble • Rick Bogart Trio L’ybane 9:30 pm (ALSO FRI) Tomi Jazz 8, 11 pm $10 • • Orrin Evans Evolution Series Jam Session Zinc Bar 11 pm • Mike Lattimore Band Cleopatra’s Needle 8 pm NYC Baha’i Center 8, 9:30 pm $15 • Irving Fields Nino’s Tuscany 7 pm (ALSO WED-SUN) êCarl Allen’s The Art of Elvin with Freddie Hendrix, Keith Loftis, Eric Reed, êLukas Ligeti solo; Gary Lucas/Lukas Ligeti • George Gee Swing Orchestra Swing 46 8:30 pm $12 Yasushi Nakamura Smoke 7, 9, 10:30 pm $38 The Stone 8, 10 pm $15 • Earl Rose; Chris Gillespie Bemelmans Bar 5:30, 9:30 pm (ALSO WED-SAT) êPaquito D’Rivera’s Around the Americas with Alex Brown, Oscar Stagnaro, • Travis Sullivan’s Björkestra Joe’s Pub 9 pm $20 • Loston Harris Café Carlyle 9:30 pm $20 (ALSO WED-SAT) Diego Urcola, Mark Walker, Pernell Saturnino and Quinteto Cimarron: • Jazzmeia Horn with Victor Gould, Noah Jackson, Joe Dyson, Lesedi Ntsane • Art Hirahara Trio Arturo’s 8 pm Minton’s 7, 8:30, 10 pm $10-20 • Yuichi Hirakawa Trio Arthur’s Tavern 7, 8:30 pm Eduardo Coma Vega, Lazaro Gonzalez Pena, Raymond Arteaga Morales, • Mike LeDonne Quartet; Emmet Cohen Band Smoke 7, 9, 10:30, 11:30 pm Luis Caballero Varona, Oscar Rodriguez Calvo • Julien Hucq/Marius Duboule Quartet with Noah Garabedian, Alex Ritz; Dezron Douglas Trio with Willerm Delisfort, Jeremy “Bean” Clemons • Ilya Lushtak Quartet Shell’s Bistro 7:30 pm Rose Theater 8 pm $30-120 • Mona’s Hot Four Jam Session Mona’s 11 pm êMichele Rosewoman’s New Yor-Uba with Ingrid Jensen, Roman Filiu, Korzo 9, 10:30 pm • Annie Ross The Metropolitan Room 9:30 pm $25 Aaron Djuan Burnett, Andrew Gutauskas, Chris Washburne, Gregg August, • TILT Brass JACK 8 pm $15 • Slavic Soul Party Barbès 9 pm $10 Tyshawn Sorey, Roman Díaz, Abraham Rodriguez, Mauricio Herrera, • Lady Got Chops: Cheryl Pyle/Roberta Piket • Diego Voglino Jam Session The Fifth Estate 10 pm Ernesto ‘El Gato’ Gatell Dizzy’s Club 7:30, 9:30 pm $45 Harlem On 5th Restaurant 9 pm • Evan Sherman Big Band Dizzy’s Club 11:30 pm $20 êMara Rosenbloom/Guillermo Gregorio; Mara Rosenbloom; Guillermo Gregorio; WEDNESDAY êThe Levin Brothers: Pete and Tony Levin Ken Filiano Ibeam Brooklyn 8:30, 10 pm $15 • Hendrik Meurkens Trio with Misha Tsiganov, Chris Berger • Astoria Jazz Composers Workshop Waltz-Astoria 6 pm Iridium 8:30, 10:30 pm $25 • Sedric Choukroun and the Eccentrics Chez Oskar 7 pm • Steve LaSpina/Billy Test Knickerbocker Bar and Grill 9:45 pm $5 Bar Next Door 8:30, 10:30 pm $12 Steve Lehman/Sam Pluta Trio; Lester St. Louis Large Ensemble • Rob Duguay’s Low Key Trio Turnmill NYC 11 pm • Monty Alexander Harlem Kingston Express with Andy Bassford, Hassan JJ Shakur, • • Jeanne Gies with Howard Alden and Friends Joe G’s 6:30 pm Joshua Thomas, Karl Wright Jazz Standard 7:30, 10, 11:30 pm $40 ShapeShifter Lab 7:30, 9 pm • Hilary Kole Café Noctambulo at Pangea 7 pm $20 êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille • Laurie Krauz Jazz Soup Metropolitan Room 7 pm $20 • Les Kurtz Trio Cleopatra’s Needle 7 pm Village Vanguard 8:30, 10:30 pm $30 • Spike Wilner Trio; Kyle Poole and Friends • Jonathan Kreisberg Trio Bar Next Door 8:30, 10:30 pm $12 êJames Moody 90th Birthday Tribute with Jimmy Heath, Roberta Gambarini, Smalls 7:30 pm 12:30 am $20 • Ron McClure solo piano McDonald’s 12 pm (ALSO SAT) David Hazeltine, Todd Coolman, Victor Lewis • Saul Rubin; Itai Kriss Gato Gordo; John Benitez’s Latin Bop • David Ostwald’s Louis Armstrong Centennial Band Birdland 5:30 pm $20 Fat Cat 7, 9 pm 12:30 am • Saul Rubin Vocalist Series Zeb’s 8 pm $10 Blue Note 8, 10:30 pm $45 • Stan Rubin Orchestra Swing 46 8:30 pm êJohn Abercrombie Quartet Birdland 8:30, 11 pm $40 • Carl Bartlett Jr. Trio The Garage 7 pm • Michael Kanan Measure 8 pm • Eve Silber Arthur’s Tavern 7 pm • Eduardo Belo Choro Quartet Measure 8 pm • Camille Thurman Quartet Smoke 11:30 pm • Marsha Heydt Project of Love; Joe Pino Quartet; Virginia Mayhew Quartet • Melissa Slocum Rendall Memorial Presbyterian Church 12, 1 pm $15 • Reggie Woods with Greg Lewis Organ Monk Sapphire NYC 8 pm The Garage 12, 6, 10:30 pm • Bill Wurtzel/Mike Gari American Folk Art Museum Lincoln Square 2 pm Sunday, March 29 THURSDAY

ê • Jovan Alexandre Band Carroll Place 10 pm 12 am Marty Ehrlich/Myra Melford; Myra Melford Trio with Lindsey Horner, Reggie Nicholson YOU WANNA KNOW WHO HAS • Sedric Choukroun Brasserie Jullien 7:30 pm (ALSO FRI, SAT) The Stone 8, 10 pm $15 • Richard Clements Piano Workshop University of the Streets 5 pm • Lady Got Chops: Lakecia Benjamin/Onaje Allan Gumbs Experience TAUGHT AND MENTORED SOME OF • Joel Forrester/Christina Clare Vespa 7:30, 9 pm Sankofa Aban Bed & Breakfast 9 pm • Craig Harris and the Harlem Night Songs Big Band MIST 9, 10:30 pm $15 • Steve Blum And The Molecular Organ Trio • Jazz Jam Session American Legion Post 7:30 pm Iridium 8, 10 pm $20 TODAY’S TOP YOUNG JAZZ ARTISTS? • Kazu Trio Cleopatra’s Needle 11:30 pm • Orchid: Todd Neufeld, Carlo Costa, Armando Montana; George Spanos Trio with • Lapis Luna Quintet The Plaza Hotel Rose Club 8:30 pm Lawrence Clark, Juini Booth WhyNot Jazz Room 7, 10 pm $10 • Curtis Lundy Jam Session Shell’s Bistro 9 pm Martin Nevin Group with Tom Finn, Matt Marantz, Sam Harris, Craig Weinrib • Renaud Penant Trio Cadaqués 7:30 pm • • Sol Yaged Grata 8 pm Cornelia Street Café 8:30 pm $10 • Eri Yamamoto Trio Arthur’s Tavern 7 pm (ALSO FRI-SAT) êPeter Leitch/Sean Smith Walker’s 8 pm • Dezron Douglas Black Lion Quartet with David Bryant, Jeremy “Bean” Clemons, Carl has recorded FRIDAY Lummie Spann Minton’s 5;30, 7, 8:30 pm $10-20 and performed live • Kate Cosco Measure 8 pm • Scot Albertson Parnell’s 8 pm (ALSO SAT) • Behn Gillece with Ken Fowser, Jeremy Manasia, Joseph Lepore, Charles Ruggiero around the world • Gene Bertoncini Ryan’s Daughter 8 pm • The Crooked Trio: Oscar Noriega, Brian Drye, Ari Folman-Cohen Barbès 5 pm Smalls 10:30 pm $20 with countless jazz • Terry Waldo’s Gotham City Band; Brandon Lewis/Renee Cruz Jam • Day One Trio Prime and Beyond Restaurant 9 pm (ALSO SAT) • Gerry Eastman Quartet Williamsburg Music Center 10 pm Fat Cat 6 pm 1 am legends over the • Finkel/Kasuga/Tanaka/Solow San Martin Restaurant 12 pm $10 • Dikko Faust Ensemble; Otto Willberg/David Birchall past three decades • Patience Higgins & The Sugar Hill Quartet Smoke 11:45 pm ABC No-Rio 7 pm $5 • Tommy Igoe Birdland Big Band Birdland 5:15 pm $25 • Kristen Lee Sergeant; John Lander Trio including: Freddie • Sandy Jordan and Friends ABC Chinese Restaurant 8 pm Caffe Vivaldi 8, 9 pm • Bernard Linnette Jam Session University of the Streets 11:30 pm êCarl Allen’s The Art of Elvin with Freddie Hendrix, Keith Loftis, Eric Reed, Hubbard, Benny • The Minton’s Players Minton’s 7, 8:30, 10 pm $10-20 (ALSO SAT) Yasushi Nakamura Smoke 7, 9, 10:30 pm $38 Golson, Woody • Frank Owens Open Mic Pearl Studios 7:30 pm $10 êMichele Rosewoman’s New Yor-Uba with Ingrid Jensen, Roman Filiu, • Renaud Penant Quartet Cadaqués 8 pm Aaron Djuan Burnett, Andrew Gutauskas, Chris Washburne, Gregg August, Shaw, Jackie Mc- • Richard Russo Quartet Capital Grille 6:30 pm it’s • Bill Saxton and the Harlem Bebop Band Bill’s Place 9, 11 pm $15 (ALSO SAT) Tyshawn Sorey, Roman Díaz, Abraham Rodriguez, Mauricio Herrera, Lean, George Cole- • Joanna Sternberg Trio Cleopatra’s Needle 12:30 am Ernesto ‘El Gato’ Gatell Dizzy’s Club 7:30, 9:30 pm $35 man, Ron Carter, • Monty Alexander Harlem Kingston Express with Andy Bassford, Hassan JJ Shakur, SATURDAY Joshua Thomas, Karl Wright Jazz Standard 7:30, 10 pm $35 Terence Blanchard, êTrio 3: Oliver Lake, Reggie Workman, Andrew Cyrille Carl • Rob Anderson Jam Session University of the Streets 10 pm Village Vanguard 8:30, 10:30 pm $30 Donald Harrison, • Avalon Jazz Quartet Matisse 8 pm êJames Moody 90th Birthday Tribute with Roy Hargrove, Janis Siegel, Mike Wofford, Lena Horne, Sonny • The Candy Shop Boys Duane Park 8, 10:30 pm Holly Hoffmann, David Hazeltine, Todd Coolman, Victor Lewis • Curtis Lundy Trio with guests Shell’s Bistro 9 pm Blue Note 8, 10:30 pm $35 Stitt, Sammy Davis • Jonathan Moritz/Chris Welcome/Shayna Dulberger The Graham 1 pm Allen • Yoo Sun Nam The Grain 8 pm • Michael Morgan Silvana 6 pm Jr., Michael Brecker, • Johnny O’Neal and Friends Smoke 11:45 pm • Ike Sturm and Evergreen Saint Peter’s 5 pm • Skye Jack 8:30 pm • Combo Nuvo Blue Note 11:30 am 1:30 pm $35 Soriani Paolo Photo: • Cleave Guyton Heptet Minton’s 12, 1:30, 3 pm $10 SUNDAY • Roz Corral Trio with Nir Felder, David Finck drummer educator producer North Square Lounge 12:30, 2 pm • Avalon Jazz Quartet The Lambs Club 11 am • Fleur Seule Rainbow Room 12:30 pm $95 • John Benitez Jam Session Terraza 7 9:30 pm • The Candy Shop Boys The Rum House 9:30 pm • Kayo Hiraki Trio; David Coss Quartet AVAILABLE FOR: • Creole Cooking Jazz Band; Stew Cutler and Friends Arthur’s Tavern 7, 10 pm The Garage 11:30 am 7 pm • Isaac Darch Group Basik Bar 7 pm Clinics, Master Classes, • Natalie Douglas Jazz Party Birdland 6 pm $30 Monday, March 30 • The EarRegulars with Jon-Erik Kellso The Ear Inn 8 pm Artist-In-Residencies • Marjorie Eliot/Rudell Drears/Sedric Choukroun Parlor Entertainment 4 pm êGabriel Alegría Afro-Peruvian Sextet with Laura Andrea Leguía, Yuri Juárez, and Performances • Joel Forrester solo Grace Gospel Church 11 am Freddy Huevito Lobatón, Shirazette Tinnin • Broc Hempel/Sam Trapchak/Christian Coleman Trio Dominie’s Astoria 9 pm Dizzy’s Club 7:30, 9:30 pm $30 • Bob Kindred Group; Trio Café Loup 12:30, 6:30 pm êCatherine Russell/Lakecia Benjamin CONTACT: • Peter Mazza Trio Bar Next Door 8, 10 pm $12 • Tony Middleton Trio Jazz at Kitano 11:30 am $35 Schomburg Center 7 pm $30 [email protected] • Arturo O’Farrill Afro Latin Jazz Orchestra Birdland 9, 11 pm $30 êJosh Sinton/Nate Wooley; Kirk Knuffke/Christof Knoche • Artemisz Polonyi and Trio Indigo BarSix Restaurant 8 pm Delroy’s Cafe and Wine Bar 8:30, 9:45 pm $10 • Earl Rose solo; Tony DeSare Bemelmans Bar 5:30, 9 pm • Judi Silvano’s My Dance with Michael Abene www.carlallen.com • Lu Reid Jam Session Shrine 4 pm Cornelia Street Café 8:30 pm $10 • Annette St. John; Wilerm Delisfort Quartet Smoke 11:30 am 11:45 pm êMingus Big Band Jazz Standard 7:30, 10 pm $25 www.nyjazzed.com • Ryo Sasaki Trio Analogue 7 pm • Milton Suggs Cávo 7 pm

48 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD CLUB DIRECTORY

• 11th Street Bar 510 E. 11th Street • Fat Cat 75 Christopher Street at 7th Avenue (212-675-6056) • The Plaza Hotel Rose Club Fifth Avenue at Central Park South (212-982-3929) Subway: L to 1st Avenue www.11thstbar.com Subway: 1 to Christopher Street/Sheridan Square www.fatcatmusic.org (212-759-3000) Subway: N, Q, R to Fifth Avenue www.fairmont.com • 55Bar 55 Christopher Street (212-929-9883) • The Fifth Estate 506 5th Avenue, Brooklyn • Prime and Beyond Restaurant 90 East 10th Street Subway: 1 to Christopher Street www.55bar.com (718-840-0089) Subway: F to 4th Avenue www.fifthestatebar.com (212-505-0033) Subway: 6 to Astor Place www.primeandbeyond.com • 92nd Street Y Lexington Avenue at 92nd Street • The Firehouse Space 246 Frost Street • Prospect Range 1226 Prospect Avenue (212-415-5500) Subway: 6 to 96th Street www.92y.org Subway: L to Graham Avenue www.thefirehousespace.org Subway: F to Fort Hamilton Parkway www.prospectrange.com • ABC Chinese Restaurant 34 Pell Street • First Reformed Church of Jamaica 159-29 90th Avenue • The Rainbow Room 30 Rockefeller Plaza (212-346-9890) Subway: J to Chambers Street Subway: J, Z to 75th Street (212) 632-5000 Subway: B, D, F, M to 47-50th Streets - Rockefeller Center • ABC No-Rio 156 Rivington Street (212-254-3697) • The Flatiron Room 37 West 26th Street www.rainbowroom.com Subway: J,M,Z to Delancey Street www.abcnorio.org (212-725-3860) Subway: N, R to 28th Street www.theflatironroom.com • Rendall Memorial Presbyterian Church 59 W. 137th Street #61 • Abyssinian Baptist Church 132 Odell Clark Place/W. 138th Street • Flushing Town Hall 137-35 Northern Boulevard, Flushing (212-283-2928) Subway: 2, 3 to 135th Street (212-862-5959) Subway: 2, 3 to 135th Street www.abyssinian.org (718-463-7700) Subway: 7 to Main Street www.flushingtownhall.org • Riverdale Y 5625 Arlington Avenue (718-548-8200) • American Folk Art Museum 45 W 53rd Street (212-265-1040) • Flute Gramercy 40 E. 20th Street (212-529-7870) Subway: 6 to 23rd Street Subway: 1 to 242 Street - Van Cortlandt Park www.riverdaley.org Subway: E to 53rd Street www.folkartmuseum.org • Freddy’s Backroom 627 5th Avenue, Brooklyn (718-768-0131) • Rockwood Music Hall 196 Allen Street (212-477-4155) • American Legion Post 248 West 132nd Street Subway: R to Prospect Avenue www.freddysbar.com/events Subway: F, V to Second Avenue www.rockwoodmusichall.com (212-283-9701) Subway: 2, 3 to 135th Street www.legion.org • The Garage 99 Seventh Avenue South (212-645-0600) • Rose Theater Broadway at 60th Street, 5th floor • An Beal Bocht Café 445 W. 238th Street Subway: 1 to Christopher Street www.garagerest.com (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle Subway: 1 to 238th Street www.LindasJazzNights.com • Ginny’s Supper Club at Red Rooster Harlem 310 Malcolm X Boulevard www.jalc.org • Analogue 19 West 8th Street (212-432-0200) (212-792-9001) Subway: 2, 3 to 125th Street www.ginnyssupperclub.com • Roulette 509 Atlantic Avenue Subway: A, B, C, D, E, F, M to W. 4th Street www.analoguenyc.com • Glasshouse Project 246 Union Avenue (212-219-8242) Subway: 2, 3, 4, 5 to Atlantic Avenue www.roulette.org • Antibes Bistro 112 Suffolk Street Subway: G to Broadway www.glasshouseproject.org • Rue B 188 Avenue B (212-358-1700) Subway: L to 1st Avenue (212-533-6088) Subway: J, Z to Essex Street www.antibesbistro.com • Gotham Comedy Club 208 W. 23rd Street • The Rum House 228 W. 47th Street • The Appel Room Broadway at 60th Street, 5th floor (212-367-9000) Subway: C, E to 23rd Street www.gothamcomedyclub.com (646-490-6924) Subway: N, Q, R to 49th Street www.edisonrumhouse.com (212-258-9800) Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle • Grace Gospel Church 589 E. 164th Street • Russ & Daughters Café 127 Orchard Street 127 Orchard Street www.jalc.org (718-328-0166) Subway: 2, 5 to Prospect Avenue (212-475-4881) Subway: F to Delancey Street • Arthur’s Tavern 57 Grove Street (212-675-6879) • The Graham 190 Graham Ave (718-388-4682) www.russanddaughterscafe.com Subway: 1 to Christopher Street www.arthurstavernnyc.com Subway: L to Montrose Avenue www.thegrahambrooklyn.com • Ryan’s Daughter 350 E 85th Street • Arturo’s 106 W. Houston Street (at Thompson Street) • The Grain 893 Broadway (212-628-2613) Subway: 4, 5, 6 to 86th Street www.ryansdaughternyc.com (212-677-3820) Subway: A, B, C, D, E, F, M to W. 4th Street (646-398-9663) Subway: 6 to 23rd Street www.thegrainnyc.com • Rye 247 S. 1st Street (718-218-8047) Subway: G to Metropolitan Avenue • The Astor Room 34-12 36th Street, Queens • Grata 1076 1st Avenue (212-842-0007) www.ryerestaurant.com (718-255-1947) Subway: M, R to Steinway Street www.astorroom.com Subway: 4, 5, 6, N, Q, R to 59th Street www.gratanyc.com • Saint Peter’s Church 619 Lexington Avenue at 54th Street • BAMCafé 30 Lafayette Ave at Ashland Pl, Fort Greene, Brooklyn • Greenwich House Music School 46 Barrow Street (212-935-2200) Subway: 6 to 51st Street www.saintpeters.org (718-636-4139) Subway: M, N, R, W to Pacific Street; (212-242-4770) Subway: 1 to Christopher Street www.greenwichhouse.org • San Martin Restaurant 143 E. 49 Street between Lexington and Park Q, 1, 2, 4, 5 to Atlantic Avenue www.bam.org • Harlem On 5th Restaurant 2150 5th Avenue Avenues (212-832-0888) Subway: 6 to 51st Street • B.B. King’s Blues Bar 237 W. 42nd Street (212-997-2144) (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com • Sankofa Aban Bed & Breakfast 107 Macon Street Subway: 1, 2, 3, 7 to 42nd Street/Times Square www.bbkingblues.com • Harlem Stage Gatehouse 150 Convent Avenue at West 135th Street (917-704-9237) Subway: A, C to Nostrand Avenue www.sankofaaban.com • Bflat 277 Church Street (between Franklin and White Streets) (212-650-7100) Subway: 1 to 137th Street www.harlemstage.org • Sapphire NYC 333 E. 60th Street (212-421-3600) Subway: 1, 2 to Franklin Streets • Hostos Center 450 Grand Concourse Subway: 4, 5, 6, N, Q, R to 59th Street www.nysapphire.com • Bar Chord 1008 Cortelyou Road (718-518-6700) Subway: 2, 4, 5 to 149th Street www.hostos.cuny.edu • The Schomburg Center 515 Macolm X Boulevard (347-240-6033) Subway: Q to Cortelyou Road www.barchordnyc.com • Ibeam Brooklyn 168 7th Street between Second and Third Avenues (212-491-2200) Subway: 2, 3 to 135th Street • Bar Lunatico 486 Halsey Street Subway: F to 4th Avenue www.ibeambrooklyn.com www.nypl.org/research/sc/sc.html (917-495-9473) Subway: C to Kingston-Throop Avenues • Iguana 240 West 54th Street (212-765-5454) • SEEDS 617 Vanderbilt Avenue Subway: 2, 3, 4 to Grand Army Plaza • Bar Next Door 129 MacDougal Street (212-529-5945) Subway: B, D, E, N, Q, R to Seventh Avenue www.iguananyc.com www.seedsbrooklyn.org Subway: A, B, C, D, E, F, M to W. 4th Street www.lalanternacaffe.com • Indian Road Café 600 West 218th Street @ Indian Road • ShapeShifter Lab 18 Whitwell Place • BarSix Restaurant 502 Sixth Avenue (212-942-7451) Subway: 1 to 215th Street www.indianroadcafe.com (646-820-9452) Subway: R to Union Street www.shapeshifterlab.com (212-691-1363) Subway: 1, 2, 3, F, M to 14th Street www.barsixny.com • Inkwell Café 408 Rogers Avenue between Lefferts and Sterling • Shell’s Bistro 2150 5th Avenue • Barbès 376 9th Street at 6th Avenue, Brooklyn (718-965-9177) Subway: 5 to Sterling Street www.plgarts.org (212) 234-5600 Subway: 2, 3 to 135th Street www.shellsbistro.com Subway: F to 7th Avenue www.barbesbrooklyn.com • Iridium 1650 Broadway at 51st Street (212-582-2121) • Showman’s 375 W. 125th Street at Morningside) • Beacon Theatre 2124 Broadway at 74th Street Subway: 1,2 to 50th Street www.theiridium.com (212-864-8941) Subway: A, B, C, D to 125th Street (212-496-7070) Subway: 1, 2, 3 to 72nd Street www.beacontheatre.com • JACK 505 Waverly Avenue www.showmansjazz.webs.com • Bemelmans Bar 35 E. 76th Street (212-744-1600) (718-388-2251) Subway: C to Clinton-Washington Avenue www.jackny.org • Shrine 2271 Powell Boulevard (212-690-7807) Subway: 6 to 77th Street www.thecarlyle.com • Jack 80 University Place Subway: 4, 5, 6, N, R to 14th Street Subway: B, 2, 3 to 135th Street www.shrinenyc.com • Bill’s Place 148 W. 133rd Street (between Lenox and 7th Avenues) • Jazz at Kitano 66 Park Avenue at 38th Street (212-885-7000) • Silvana 300 West 116th Street (212-281-0777) Subway: 2, 3 to 125th Street Subway: 4, 5, 6, 7, S to Grand Central www.kitano.com (646-692-4935) Subway: B, C, to 116th Street • Birdland 315 W. 44th Street (212-581-3080) • The Jazz Gallery 1160 Broadway, 5th floor (212-242-1063) • Sistas’ Place 456 Nostrand Avenue at Jefferson Avenue, Brooklyn Subway: A, C, E, to 42nd Street www.birdlandjazz.com Subway: N, R to 28th Street www.jazzgallery.org (718-398-1766) Subway: A to Nostrand Avenue www.sistasplace.org • Blue Note 131 W. 3rd Street at 6th Avenue (212-475-8592) • Jazz Standard 116 E. 27th between Park and Lexington Avenue • Smalls 183 W 10th Street at Seventh Avenue (212-252-5091) Subway: A, B, C, D, E, F, M to W. 4th Street www.bluenotejazz.com (212-576-2232) Subway: 6 to 28th Street www.jazzstandard.net Subway: 1,2,3 to 14th Street www.smallsjazzclub.com • Borden Auditorium Broadway and 122nd Street • Joe G’s 244 W. 56th Street (212-765-3160) • Smoke 2751 Broadway between 105th and 106th Streets (212-749-2802 ext. 4428) Subway: 1 to 116th Street www.msmnyc.edu Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle (212-864-6662) Subway: 1 to 103rd Street www.smokejazz.com • Bowery Arts + Science 308 Bowery • Joe’s Pub at the Public Theater 425 Lafayette Street • Somethin’ Jazz Club 212 E. 52nd Street, 3rd floor Subway: 6 to Bleecker Street; B, D, F, M to Broadway-Lafayette Street (212-539-8770) Subway: N, R to 8th Street-NYU; 6 to Astor Place (212-371-7657) Subway: E to Lexington Avenue-53rd Street www.boweryartsandscience.org www.joespub.com www.somethinjazz.com/ny • Branded Saloon 603 Vanderbilt Avenue (between St. Marks Avenue and • Juilliard School Peter Jay Sharp Theater 155 W. 65th Street • Soup & Sound 292 Lefferts Avenue (between Nostrand and Rogers Street Subway: 2, 3 to Bergen Street www.brandedsaloon.com (212-769-7406) Subway: 1 to 66th Street www.juilliard.edu Avenues) Subway: 2 to Sterling Street • Brandy Library 25 N. Moore Street • Knickerbocker Bar & Grill 33 University Place (212-228-8490) • Spectrum 121 Ludlow Street, 2nd floor Subway: F to Delancey Street (212-226-5545) Subway: 1 to Franklin Street Subway: N, R to 8th Street-NYU www.knickerbockerbarandgrill.com www.spectrumnyc.com • Broadway Thai 241 West 51st Street • Korzo 667 5th Avenue Brooklyn (718-285-9425) Subway: R to Prospect Avenue • Stephen Wise Free Synagogue 30 W. 68th Street (212-226-4565) Subway: 1, C, E to 50th Street www.tomandtoon.com www.konceptionsmusicseries.wordpress.com (212-877-4050) Subway: 1 to 66th Street www.swfs.org • Brooklyn Bowl 61 Wythe Avenue • The Lambs Club 132 W. 44th Street • Stern Auditorium at Carnegie Hall 881 Seventh Avenue (212-247-7800) (718-963-3369) Subway: L to Bedford Avenue www.brooklynbowl.com 212-997-5262 Subway: A, C, E, to 42nd Street www.thelambsclub.com Subway: N, Q, R, W to 57th- Seventh Avenue www.carnegiehall.org • Brooklyn Conservatory of Music 58 Seventh Avenue • Le Cirque Café One Beacon Court, 151 East 58th Street (212-644-0202) • The Stone Avenue C and 2nd Street Subway: F to Seventh Avenue, N, R to Union Street www.bqcm.org Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.lecirque.com Subway: F to Second Avenue www.thestonenyc.com • Brownsville Heritage House 581 Mother Gaston Boulevard • Le Poisson Rouge 158 Bleecker Street (212-228-4854) • SubCulture 45 Bleecker Street (212-533-5470) (718-385-1111) Subway: L to New Lots Avenue Subway: A, B, C, D, E, F, V to W. 4th Street www.lepoissonrouge.com Subway: 6 to Bleecker Street www.subculturenewyork.com • Cadaqués 188 Grand Street, Brooklyn • Local 802 322 W. 48th Street between Eighth and Ninth Avenues • Sugar Bar 254 W. 72 Street between Broadway and West End Avenue (718-218-7776) Subway: L to Bedford Avenue www.cadaquesny.com (212-245-4802) Subway: C to 50th Street www.jazzfoundation.org (212-579-0222) Subway: 1, 2, 3 to 72nd Street www.sugarbarnyc.com • Café Carlyle 35 E. 76th Street (212-744-1600) • L’ybane 709 8th Avenue (212-582-2012) • Swing 46 349 W. 46th Street (646-322-4051) Subway: 6 to 77th Street www.thecarlyle.com Subway: A, C, E to 42nd Street-Port Authority www.lybane.com Subway: A, C, E to 42nd Street www.swing46.com • Café Loup 105 W. 13th Street between Sixth and Seventh Avenues • McDonald’s 160 Broadway between Maiden Lane and Liberty Street • Symphony Space Leonard Nimoy Thalia 2537 Broadway at 95th Street (212-255-4746) Subway: F to 14th Street www.cafeloupnyc.com (212-385-2063) Subway: 4, 5 to Fulton Street www.mcdonalds.com (212-864-5400) Subway: 1, 2, 3 to 96th Street www.symphonyspace.org • Café Noctambulo at Pangea 178 Second Avenue • Matisse 924 Second Avenue • Tagine 537 9th Ave. between 39th and 40th Streets (212-995-0900) Subway: L to First Avenue www.pangeanyc.com (212-546-9300) Subway: 6 to 51st Street www.matissenyc.com (212-564-7292) Subway: A, C, E, 1, 2, N, R, 7 to 42nd Street • Caffe Vivaldi 32 between Bleecker and W. 4th Streets • Measure 400 Fifth Avenue (212-695-4005) Subway: B, D, F, M to 34th Street • Terraza 7 40-19 Gleane Street (718-803-9602) Subway: A, B, C, D, E, F, Q, V to W. 4th Street-Washington Square www.langhamplacehotels.com Subway: 7 to 82nd Street/Jackson Heights www.terrazacafe.com www.caffevivaldi.com • Metropolitan Museum of Art 1000 Fifth Avenue at 82nd Street • Threes Brewing 333 Douglass Street • Capital Grille 120 Broadway (212-570-3949) Subway: 4, 5, 6 to 86th Street www.metmuseum.org (718-522-2110) Subway: R to Union Street www.threesbrewing.com (212-374-1811) Subway: 2, 3, 4, 5 to Wall Street www.thecapitalgrille.com • Metropolitan Room 34 W. 22nd Street (212-206-0440) • Tomi Jazz 239 E. 53rd Street • Cávo 42-18 31st Avenue, Astoria Subway: N, R to 23rd Street www.metropolitanroom.com (646-497-1254) Subway: 6 to 51st Street www.tomijazz.com (718-721-1001) Subway: M, R, to Steinway Street www.cavoastoria.com • Michiko Studios 149 West 46th Street, 3rd Floor • Tribeca Performing Arts Center 199 Chambers Street • Charley O’s 1611 Broadway at 49th Street (212-302-4011) Subway: B, D, F, M to 47-50 Streets (212-220-1460) Subway: A, 1, 2, 3 to Chambers Street www.tribecapac.org (212-246-1960) Subway: N, R, W to 49th Street www.michikostudios.com • Turnmill NYC 119 East 27th Street • Chez Lola 387 Myrtle Avenue, Brooklyn (718-858-1484) • Milk River Café 960 Atlantic Avenue (718) 636-8600 (646-524-6060) Subway: 6 to 27th Street www.turnmillnyc.com Subway: C to Clinton-Washington Avenues www.bistrolola.com Subway: C, S to Franklin Avenue www.milkriverbrooklyn.com • Turtle Bay Music School 244 East 52nd Street Subway: 6 to 51st Street • Chez Oskar 211 Dekalb Ave, Brooklyn (718-852-6250) • Miller Theater 2960 Broadway and 116th Street (212-854-7799) • University of the Streets 130 East 7th Street Subway: C to Lafayette Avenue www.chezoskar.com Subway: 1 to 116th Street-Columbia University www.millertheater.com (212-254-9300) Subway: 6 to Astor Place www.universityofthestreets.org • City Winery 155 Varick Street • Minton’s 206 West 118th Street (212-243-2222) • Vespa 1625 2nd Avenue (212) 472-2050 (212-608-0555) Subway: 1 to Houston Street www.citywinery.com Subway: B, C to 116th Street www.mintonsharlem.com Subway: 4, 5, 6 to 86th Street www.vespaitalianorestaurant.com • Cleopatra’s Needle 2485 Broadway (212-769-6969) • MIST Harlem 40 West 116th Street Subway: 2, 3 to 116th Street • The Village Lantern 167 Bleecker Street Subway: 1, 2, 3 to 96th Street www.cleopatrasneedleny.com • Mona’s 224 Avenue B Subway: L to First Avenue (212-260-7993) Subway: A, B, C, D, E, F, M to W. 4th Street • Cornelia Street Café 29 Cornelia Street • NYC Baha’i Center 53 E. 11th Street (212-222-5159) • Village Vanguard 178 Seventh Avenue South at 11th Street (212-989-9319) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: 4, 5, 6, N, R to 14th Street-Union Square www.bahainyc.org (212-255-4037) Subway: 1, 2, 3 to 14th Street www.villagevanguard.com www.corneliastreetcafé.com • Neighborhood Church of Greenwich Village 269 Bleecker Street • Walker’s 16 North Moore Street (212-941-0142) Subway: A, C, E to Canal Street • Delroy’s Cafe and Wine Bar 65 Fenimore Street (212-691-1770) Subway: A, B, C, D, E, F, V to W. 4th Street • Waltz-Astoria 23-14 Ditmars Boulevard (718-95-MUSIC) Subway: Q to Parkside Avenue www.facebook.com/65fenmusicseries • New School Arnhold Hall 55 West 13th Street Subway: N, R to Ditmars Blvd-Astoria www.Waltz-Astoria.com • Dizzy’s Club Broadway at 60th Street, 5th Floor (212-258-9800) (212-229-5600) Subway: F, V to 14th Street www.newschool.edu • Weill Recital Hall (at Carnegie Hall) 154 W. 57th Street at Seventh Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.jalc.org • Nino’s Tuscany 117 W. 58th Street (212-757-8630) (212-247-7800) Subway: N, R to 57th Street www.carnegiehall.org • Dominie’s Astoria 34-07 30th Avenue Subway: N, Q to 30th Avenue Subway: 1, 2, 3, A, C, E, B, D, F to Columbus Circle www.ninostuscany.com • WhyNot Jazz Room 14 Christopher Street • Downtown Music Gallery 13 Monroe Street (212-473-0043) • North Square Lounge 103 Waverly Place (646-756-4145) Subway: 1 to Christopher Street www.whynotjazzroom.com Subway: F to East Broadway www.downtownmusicgallery.com (212-254-1200) Subway: A, B, C, E, F to West 4th Street • Williamsburg Music Center 367 Bedford Avenue, Brooklyn, NY • The Drawing Room 56 Willoughby Street #3 (917-648-1847) www.northsquareny.com (718-384-1654) Subway: L to Bedford Avenue Subway: A, C, F to Jay Street/Metrotech www.drawingroommusic.com • Nublu 62 Avenue C between 4th and 5th Streets • Zankel Hall 881 Seventh Avenue at 57th Street • Drom 85 Avenue A (212-777-1157) (212-979-9925) Subway: F, V to Second Avenue www.nublu.net (212-247-7800) Subway: N, Q, R, W to 57th Street www.carnegiehall.org Subway: F to Second Avenue www.dromnyc.com • Parlor Entertainment 555 Edgecombe Ave. #3F • Zeb’s 223 W. 28th Street • Dweck Center at Brooklyn Public Library Central Branch (212-781-6595) Subway: C to 155th Street www.parlorentertainment.com 212-695-8081 Subway: 1 to 28th Street www.zebulonsoundandlight.com Subway: 2, 3 to Grand Army Plaza; Q to 7th Avenue • Parnell’s 350 East 53rd Street #1(212-753-1761) • Zinc Bar 82 W. 3rd Street • The Ear Inn 326 Spring Street at Greenwich Street (212-246-5074) Subway: E, M to Lexington Avenue/53 Street www.parnellsny.com (212-477-8337) Subway: A, B, C, D, E, F, M to W. 4th Street Subway: C, E to Spring Street www.earinn.com • Pearl Studios 500 8th Avenue www.zincbar.com • Emmanuel Baptist Church 279 Lafayette Avenue (212-904-1850) Subway: A, C, E to 34th Street www.pearlstudiosnyc.com (718-622-1107) Subway: G to Classon Avenue www.ebcconnects.com • Perez Jazz 71 Ocean Parkway Subway: F, G to Fort Hamilton Parkway

THE NEW YORK CITY JAZZ RECORD | MARCH 2015 49 (INTERVIEW CONTINUED FROM PAGE 6) George, you had to always listen. (LABEL CONTINUED FROM PAGE 11)

CA: I’ve always been on a quest to solidify, even more, TNYCJR: What about saxophonist Don Braden? he reports. Starting about a decade ago many RG titles the relationship between gospel and jazz because that’s have been pressed as both CDs and LPs. Today some where I come from and that’s where I am now. CA: When I first met Don, he was a student at Harvard. are even available as limited editions on colored vinyl. After that, I brought him into Freddie Hubbard’s “With most titles we still sell more of the CD edition,” TNYCJR: Any really fond memories of Jackie McLean? band—and he was a very talented composer. Don Kristoffersen reports. “But the gap is closing.” always had a reputation for writing very hard Over the years the label has released one CA: Oh, boy. There are so many. Jackie and I had so harmonics. Don has a brilliant mind. When I first met Supersilent concert DVD as well as two book/CD much in common. One time, we were on the road and I him, he was studying computer science and computer packages: Money Will Ruin Everything Volumes 1 and 2. was getting ready to leave the hotel and take a walk. programming. Don actually had a business on the side Created to coincide with the label’s fifth and 10th Jackie asked where I was going and I said, “I’m just doing computer programming. Don was always very anniversary, the books include artwork, sketches, going around the corner.” Jackie said, “It sounds like entrepreneurial in spirit, which is something we photos and interviews. More recently RG published you don’t want me to know where you’re going.” I always used to talk about as well. Johannes Rød’s Free Jazz and Improvisation on Vinyl said, “Oh, no, Jackie. I’m just going to a stationary 1965-1985, an expansive tome offering selected store. I love stationary. I’ve always loved stationary.” TNYCJR: You also had a minor outside of music. discographies of 60 independent record labels Jackie said, “I’m going with you.” I found out that beginning with ESP-Disk’ and ending with the Jackie also loved stationary and, man, Jackie and I CA: When I started college, I was majoring in music beginning of the CD era. “There might well be more were in that store for about an hour and a half. That and minoring in physics. A mentor of mine said, “Why books if it feels natural since I feel that the books are was when we realized that we had some little weird are you minoring in something? If you have something extensions of the music,” says Kristoffersen. things in common. And Jackie was a very loyal person. to fall back on, you’re going to fall back on it.” That Ironically as well, for a label that Kristoffersen changed my whole way of looking at things. v refuses to classify as a jazz imprint, quite a lot of TNYCJR: You had a rapport with Freddie Hubbard. improvised music has appeared recently: improv For more information, visit carlallen.com. Allen is at Smoke quartet Spunk; vocalist Sidsel Endresen and guitarist CA: One of the things I remember about Freddie was Mar. 6th-8th with Buster Williams and Mar. 27th-29th with Stian Westerhus; jazz duo Albatrosh; plus an archival that he never cracked a note. I played with a lot of his The Art of Elvin project. See Calendar. recording of the Detail trio featuring Norwegian musicians and cracking notes was kind of like a normal saxophonist Frode Gjerstad and late British drummer thing. I would say, “What’s wrong with his horn? Why Recommended Listening: John Stevens. Supersilent’s first album in four years is isn’t he cracking notes?” And they would say, “Carl, • Jackie McLean Quintet—Dynasty (Triloka, 1988) scheduled and 2015 will see a new album from the Fire! we’re talking about Freddie Hubbard.” • Trio—Testifyin’! (Live at the Village Orchestra. Vanguard) (Blue Note, 1991) Kristoffersen is adamant in stating that Rune TNYCJR: And George Coleman? • Message—The Art of Blakey (King-Evidence, 1993) Grammofon “has a very strong identity.” Still, it seems • Carl Allen—Testimonial (Atlantic, 1994) that its identity comes from a commitment to excellence CA: When I started playing with George, I was • Benny Golson—Terminal 1 (Concord, 2004) in diversity. v impressed by the fact that he could call so many • Christian McBride & Inside Straight— different tunes. George never rehearsed at all. With People Music (Mack Avenue, 2013) For more information, visit runegrammofon.com

Two new releases from the brilliant pianist/ CD Release Show - Monday, March 30th composer/songwriter Joel Forrester! Cornelia Street Café, 29 Cornelia Street, For reservations: (212) 989-9319 / corneliastreetcafe.com Music sets at 8:45 and 9:45 pm (doors open 8:30 pm) $10 cover, $10 minimum drink/ food per person, per set full dinner menu

Joel Forrester Quintet Joel Forrester Trio MY DANCE is a collection of Judi Silvano’s original songs with veteran In New York What You Mean to Me pianist Michael Abene. These are collaborative arrangements between Introducing Christina Clare with two creative improvisers at the top of their game. Some tunes have with Dave Hofstra, bass lyrics while others leave the story to the listener’s imagination. Vito Dieterle, tenor sax Matt Garrity, drums. Dave Hofstra, bass Matt Garrity, drums. A special two-disc set of Forrester originals played by his working trio and a Joel’s new quintet features bright splendid take of Monk’s young singer Christina Clare. “Well, You Needn’t.” She beautifully handles the diversity of Forrester’s songs - including the title tune plus the much in-demand “Christmas Isn’t Christmas”. The quartet plays instrumental originals. joelforrester.com ridesymbol.com

50 MARCH 2015 | THE NEW YORK CITY JAZZ RECORD

Photos: Peter Gannushkin / DOWNTOWNMUSIC.NET Fall Celebration Anniversary 50th aacm $25,000 MatchingGrant Donate toMeetthe Match Anniversary, Congratulations andThankYou. reduce thedebtwe’veallaccrued.It’s timetosayHappy determination. 50yearsofsettingprecedents. It’s timeto 50 yearsofleadingbyexample.doggedself- within theunbreakable bondsofcommunity. women taughtusthatfierce individualityflourishesfinest poetry, virtuosityand philosophy. Theselegendarymenand The AACMinfluencedsoundandsociology, paintingand you becameaconvertandevangelist? the wayyoulistenedorplayedwasturnedupsidedownand discovered thatyourearswere thegatewaytosoul,when transformed yourfuture? Where were youwhen Where were you?Where were youwhentheAACM rdbf.org http://aacm-newyork.com

Henry Threadgill Wadada LeoSmith, Lewis, RoscoeMitchell, Anthony Braxton,George Muhal Richard Abrams, Photos toptobottom: